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CATALOGUE  OF  A  MEMORIAL 
EXHIBITION  OF  THE  WORKS 
OF  AUGUSTUS  SAINT-GAUDENS 
CARNEGIE  INSTITUTE,  APRIL 
TWENTY-NINTH  THROUGH 
JUNE  THIRTIETH,  NINETEEN 
HUNDRED  AND  NINE 


Entered  According  to  Act  of  Congress,  A.  D.  1909, 
By  JOHN  \V.  BEATTY.  Director. 
In  the  Office  of  the  Librarian  of  Congress,  Washington,  D 


TRUSTEES 


WILLIAM  N.  FREW,  President 
ROBERT  PITCAIRN,  Vice  President 
JAMES  H.  REED,  Treasurer 
SAMUEL  H.  CHURCH,  Secretary 


Albert  J.  Barr 

Rev.  A.  A.  Lambing 

George  W.  Baum 

William  McConway 

Edward  M.  Bigelow 

George  A.  Macbeth 

Dr.  F.  C.  Blessing 

A.  G.  MacConnell 

John  A.  Brashear 

James  R.  Macfarlane 

Joseph  Buifington 

Hon.  William  A.  Magee 

John  Caldwell 

Dr.  A.  C.  Magill 

Samuel  H.  Church 

Andrew  W.  Mellon 

George  H.  Clapp 

*Charles  C.  Mellor 

Josiah  Cohen 

George  T.  Oliver 

F.  H.  Colhouer 

Robert  Pitcaim 

A.  J.  Edwards 

Henry  K.  Porter 

Morris  Einstein 

James  H.  Reed 

William  N.  Frew 

W.  Lucien  Scaife 

Durbin  Home 

John  D.  Shafer 

James  F.  Hudson 

Charles  L.  Taylor 

*John  B.  Jackson 

A.  Bryan  Wall 

S.  C.  Jamison 

Joseph  R.  Woodwell 

^Deceased. 


FINE  ARTS  COMMITTEE 


JOHN  CALDWELL 
Chairman 

WILLIAM  N.  FREW 

JOSEPH  R.  WOODWELL 

A.  BRYAN  WALL 

WILLIAN  McCONWAY 

E.  M.  BIGELOW 

DURBIN  HORNE 

GEO.  W.  GUTHRIE 


DIRECTOR  OF  FINE  ARTS 


JOHN  W.  BEATTY,  M.A. 


^  There  runs  through  the  works  of  Augus- 
tus Saint-Gaudens  a  dominant  note — the 
underlying,  pervading  quality  of  truth.  In 
many  of  his  important  works  there  is  reveal- 
ed another  element,  the  theme  or  thought 
expressed.  In  the  Sherman  monument,  there 
is  expressed  the  glory  of  the  triumphant  con- 
queror; in  the  Shaw  Memorial,  the  courage 
and  devotion  of  the  patriot ;  and  in  the  Lin- 
coln, the  patience,  and  solicitude  or  love  of 
the  great  President.  This  latter  quality,  the 
thought  expressed,  is  not  less  important  than 
the  quality  of  truth — if  expressed  at  all  it  is  of 
the  highest  importance.  The  sculptor,  how- 
ever, having  chosen  form  as  a  means  of  ex- 
pression, muSt,  perforce,  express  his  thought 
with  fidelity  to  the  essential  truth  of  nature. 
Saint-Gaudens  meets  this  requirement  abund- 
antly: whether  the  work  be  a  simple  por- 
trait Study,  an  allegorical  figure,  or  an  imag- 
inative composition,  like  the  Sherman  Vidory, 
absolute  truth  in  every  detail  seems  to  have 
been  a  controlling  motive  in  its  execution. 
•J  In  considering  these  two  phases  of  Saint- 
Gaudens'  art,  and,  indeed,  in  estimating  the 
work  of  any  sculptor,  it  should  be  borne  in 

7 


mind  that  the  power  to  express  a  thought,  or 
to  record  an  incident  is  not  the  peculiar  prop- 
erty of  the  sculptor  or  painter.  It  is  com- 
mon to  all  the  arts.  Writers  in  all  ages  have 
clothed  the  sentiments  of  patriotism,  devotion 
and  love  with  glowing,  written  words. 
•I  There  is  this  distinction  to  be  observed, 
however;  words  may  only  be  used  to  ex- 
press thought,  while  form  may  express  the 
subtle  qualities  of  truth  and  beauty,  quite  in- 
dependent of  Story  or  theme.  It  is  the  firSt 
purpose  of  plaStic  and  pidorial  art  to  call 
forth  the  pleasureable  sensations  and  emo- 
tions, resulting  from  the  simple  enjoyment  of 
beauty  for  its  own  sake. 
^  Certain  it  is  that  in  the  pursuit  of  simple 
truth,  or  perfedion,  Saint-Gaudens  knew  no 
renting  place,  but  followed  on,  heedless  alike  of 
fatigue  or  discouragement,  until  he  attained 
the  completion  and  perfedion  of  the  leaSt 
and  laSt  detail. 

•J  He  seemed  ever  ready  to  go  back  and 
corred,  add  to  or  eliminate,  that  which  to 
him  was  unsatisfadory  or  untrue.  If  a 
special  sitting  to  Study  the  hand  of  Stevenson 
was  required,  or  the  removal  of  the  great 
Sherman  monument  from  Buffalo  to  Windsor 
seemed  desireable,  for  the  purpose  of  making 
slight  changes  in  mane  or  drapery,  he  was 
ready  for  the  trouble  and  the  task.  Even  after 
the  splendid  Sherman  was  in  place  at  the 
entrance  to  Central  Park,  the  writer  recalls 
the  sculptor's  willingness  to  make  a  replica, 
smaller  in  size;  the  more  especially,  as  he 

8 


\ 


said,  because  to  do  so  would  enable  him  to 
make  some  slight  changes  in  details  of  the 
work.  It  was  this  never  ending  Struggle  for 
perfection  which  dominated  his  life,  and  en- 
abled him  to  secure  a  high  and  abiding  de- 
gree of  perfection  in  all  his  work.  He  knew 
intimately  and  he  executed  faithfully.  In 
the  presence  of  these  masterpieces  we  are, 
I  fear,  prone  to  forget  the  years  of  unremit- 
ting labor  they  represent. 
€J  To  understand  fully  the  perfect  flower,  as 
represented  in  the  final  and  supreme  consum- 
mation of  Saint-Gaudens'  art,  one  must  have 
watched  its  growth;  one  must  have  sat  be- 
side the  young  Student  in  Paris,  during  days 
of  privation  and  labor,  while  he  learned  to 
search  out  the  essential  qualities  of  things, 
and  while  he  labored  to  mold  and  fashion 
the  forms  he  approved.  More  than  this,  one 
would  have  had  to  follow  down  the  path  of 
time,  during  the  succeeding  forty  years,  and 
to  have  observed  the  intense  application,  the 
constant,  thoughtful  observation,  and  the  ever- 
lasting effort  of  the  never  resting  Student  as 
he  Studied,  and  Studied,  and  Studied  nature 
in  her  ever-varying  moods  and  multitudinous 
forms.  It  was  because  he  did  all  this  that 
he  was  able,  having  comprehended  Lincoln's 
innermost  character,  to  represent  the  great 
President  in  form  so  true  that  it  is  Startling  in 
its  simple  and  almost  perfedt  reality. 
•J  Saint-Gaudens  did  not  create  the  character 
of  Lincoln ;  it  existed  before  he  undertook  the 
work,  but  he  muSt  have  devoted  an  infinite 

9 


amount  of  Study  to  the  life  of  the  great  Presi- 
dent to  have  so  fully  comprehended  and  to 
have  so  successfully  represented  him. 
€J  In  the  presence  of  this  superb  work,  one  feels 
that  the  man  who  wrote  the  Gettysburg  ad- 
dress must  have  possessed  all  the  dignity,  pathos 
and  impressive  distinction  expressed  by  it. 
1§  It  was  simply  given  Saint-Gaudens  to  com- 
prehend the  charadter  of  the  patient,  gentle 
leader;  and  because  he  understood  and  had 
the  supreme  ability  to  express  his  conception 
in  form,  his  work  is  imperishable, 
tj  Beside  this  work,  all  that  remains  to  visibly 
represent  Lincoln  are  a  few  portraits  and 
photographs,  and  not  all  of  these  represent 
the  spirit  of  the  man  in  full  measure.  Prob- 
ably the  tender  and  lovely  print  representing 
him  reading  to  little  "Tad"  more  fully  ex- 
presses the  chara&er  of  Lincoln,  as  Saint- 
Gaudens  seems  to  have  felt  it,  than  any  other. 
At  leaSt,  it  represents  Lincoln  as  we  have, 
through  a  hundred  avenues  of  information, 
learned  to  know  and  to  love  him. 
^  What  is  true  of  Saint-Gaudens'  Lincoln  is 
equally  true  of  his  Sherman.  He  understood 
the  grim  and  resolute  charadter  of  the  great 
general  with  certainty,  and  his  portrait  of  the 
victorious  warrior  is  one  of  the  marvelous 
character  Studies  of  modern  sculpture.  It  is 
at  the  same  time  one  of  the  most  inspiring, 
intellectual  representations  of  an  exalted 
theme,  The  Vidtor  Triumphant,  ever 
recorded  by  art  or  literature.  And  as 
this  work  represents  the  home  coming  of  the 


10 


battle-worn  general,  led  by  the  spirit  of  vic- 
tory, in  like  manner  and  with  equal  force  does 
the  Shaw  memorial  represent  the  patriotic 
spirit  and  devotion  of  the  soldier,  departing 
for  the  scene  of  battle,  led  by  the  spirit  of 
duty.  The  martial  tread  of  the  colored 
soldiers,  the  proud,  confident  bearing  of  the 
youthful  white  officer,  the  suggestion  of  con- 
flict conveyed  by  the  accoutrements  and  arms, 
are  all  expressed  with  power  and  fidelity. 
The  Shaw  memorial  is  truly  inspiring,  and 
eloquently  expresses  the  sense  of  duty  which 
led  the  young  officer  and  his  men  forth  to  do 
battle  in  the  cause  of  humanity. 
^  In  each  of  these  works  there  is  combined 
with  the  literary  theme  presented,  the  uncom- 
promising, sympathetic,  simple  truth  of  nature. 
It  matters  not  which  of  these  qualities  you 
place  firft  in  importance,  whether  the  qual- 
ity of  truth  or  the  thought  expressed,  it  is 
absolutely  essential  that  both  be  perfedtly 
expressed  in  works  of  a  subject  character. 
^  Saint-Gaudens  understood  this  perfedtly. 
He  combined,  with  a  perfedt  mastery,  the 
theme  with  the  purely  sculptural  qualities  of 
form,  in  such  manner  as  to  appeal  at  once  to 
the  aesthetic  sense  and  to  the  mo£t  potent 
sentiments  of  the  human  mind.  He  pos- 
sessed the  power  to  portray  an  exalted 
thought  in  truthful  terms,  as  have  few  men  in 
the  history  of  art.  Truly,  as  Saint-Gaudens 
said,  "You  can  do  anything  you  please.  It's 
the  way  it's  done  that  makes  the  difference." 

11 


HEAD  OF  VICTORY. 
Number  85. 


AUGUSTUS  SAINT-GAUDENS. 


€J  "You  can  do  anything  you  please.  It's  the  way  it's  done 
that  makes  the  difference." — Augustus  Saint-Gaudens. 


Augustus  Saint-Gaudens,  by  birth  half  French  and 
half  Irish,  by  nature  and  training  American,  came  to 
this  country  at  his  mother's  breast  in  1 848  when  six 
months  old.  His  father,  Bernard  Paul  Ernest  Saint- 
Gaudens,  was  born  in  the  little  village  of  Aspet  in  the 
south  of  France.  There  he  learned  his  trade  of  shoe- 
maker, and  thence  he  slowly  travelled  by  way  of 
Paris  and  London  to  Dublin,  Ireland,  where  he  met 
his  future  wife,  Mary  McGuiness,  who  bound  slip- 
pers in  the  shoe  store  for  which  he  made  boots.  On 
arriving  in  New  York  this  hot-headed,  eccentric 
Frenchman,  to  the  detriment  of  his  trade,  developed 
infinitely  more  interest  in  organizing  Fraternal  Societies 
than  in  selling  shoes.  Consequently,  from  the  first, 
Augustus  Saint-Gaudens,  the  third  of  five  sons,  took 
part  in  the  family  struggle  for  a  livelihood. 
€][  Until  the  age  of  thirteen  the  youngster  received  the 
ordinary  education  of  the  New  York  boy  of  1 850. 
Those  were  the  days  of  lickings  at  the  hands  of  his 
teacher,  and  of  fights  with  the  West  Broadway  "gang"; 
and  the  struggle  with  these  elements  shaped  the  energy 
which  lasted  him  through  life.  Yet  despite  his  prosaic 
surroundings  his  artistic  inclinations  took  shape  early. 
They  originated  with  the  representation  of  soldiers  upon 

13 


a  school  slate.  They  emerged  through  charcoal- 
scrawled  drawings  upon  the  neighboring  walls.  And 
finally  they  were  recognized  by  Dr.  Rea  Agnew,  a 
customer  of  Bernard  Saint-Gaudens,  who  found  such 
merit  in  the  young  man's  sketches  that  he  urged 
the  father  to  continue  his  son's  education  in  this 
direction. 

<I  In  consequence  the  boy  was  apprenticed  to  a  hard- 
tempered  man  named  Avet,  one  of  the  first  stone  cameo 
cutters  in  America,  who  led  Augustus  a  miserable  life 
for  the  next  few  years.  At  the  same  time  the  boy 
entered  the  drawing  school  of  the  Cooper  Institute. 
There  he  studied  evenings  until  in  1 864  he  revolted  at 
the  ill  nature  of  his  employer,  and  upon  being  dis- 
charged, obtained  a  position  with  a  more  kindly 
master,  Jules  LeBrethon,  and  at  about  the  same  time 
left  the  Cooper  Union  to  work  from  the  life  in  the 
National  Academy  of  Design. 

^  This  period  of  Saint-Gaudens*  youth  passed  in  the 
excitement  of  the  days  of  the  Civil  War.  From  his 
window  he  looked  down  upon  the  New  England  Vol- 
unteers marching  along  Broadway,  in  the  city  squares 
he  witnessed  the  recruiting ;  and  these  sights,  combined 
with  a  glimpse  of  Lincoln  driving  through  the  city, 
stirred  his  blood  with  that  strong  but  restrained  patri- 
otism which  finally  he  fused  into  his  monuments  of 
Farragut,  Lincoln,  Shaw,  Logan  and  Sherman, 
tj  But  the  New  York  life  came  to  an  end  in  1 867  when 
his  father  made  possible  for  him  a  trip  abroad.  The 
young  man  went  at  once  to  Paris,  where,  though  still 
earning  his  living  by  cutting  cameos,  he  studied  first  at 
the  Petite  Ecole  and  later  under  Jouffroy  in  the  Ecole 
des  Beaux  Arts.  His  master  at  that  time  led  a  revolt 
against  the  bloodless  classicism  of  the  period.  Yet  as 
the  teacher  never  gave  radical  vent  to  his  theories,  so 
14 


through  later  life  the  pupil  tempered  by  a  Steadying 
restraint  his  desire  for  individual  expression. 
1$  In  Paris  Saint-Gaudens,  a  cheerful,  athletic  youth, 
made  his  two  great  friends  who  stood  close  to  him 
all  his  life,  M.  Paul  Bion  and  M.  Alfred  Gamier. 
Because  of  their  friendship  he  nearly  enlisted  in  the 
French  army  when  the  war  with  Prussia  broke  out. 
But  a  tearful  letter  from  his  mother  changed  his  plans, 
so  that  instead  he  went  to  Rome,  where,  for  about  four 
years,  he  struggled  with  poverty  and  debts  in  his  efforts 
to  complete  his  training.  At  last,  however,  the  cameo- 
cutting  brought  him  a  few  lucky  commissions  from  the 
family  of  Mr.  Montgomery  Gibbs,  and  gave  Saint- 
Gaudens  an  opportunity  to  finish  his  first  statue  of 
"Hiawatha,"  to  execute  his  first  ordered  monument,  a 
figure  of  "Silence,"  and  to  go  back  to  America  with 
some  prospect  of  definite  work. 
^  The  young  man's  career  in  the  United  States  did 
not  stretch  out  before  him  immediately  in  any  such 
straight  and  easy  manner  as  he  may  have  expected. 
First  one  hope  and  then  another  fell  through,  though 
an  occasional  small  task  like  that  of  the  relief  of  Mr. 
D.  Maitland  Armstrong,  came  to  his  hands.  But  at 
last,  after  steady  persistence,  he  obtained  the  order  for 
the  Farragut  statue  now  in  Madison  Square,  New 
York.  From  that  day  his  position  was  assured,  and 
soon  he  secured  the  opportunity  to  aid  Mr.  John 
LaFarge  by  modelling  the  sculpture  for  that  painter  s 
scheme  of  "Angels  Adoring  the  Cross"  in  St.  Thomas' 
Church  on  Fifth  Avenue.  So  then,  after  founding  the 
Society  of  American  Artists  with  a  number  of  other 
young  men,  and  after  his  long-delayed  marriage  to 
Miss  Augusta  F.  Homer,  he  went  back  to  Paris  to 
carry  out  his  work. 

^  There  in  Paris  he  completed  the  Farragut  and  the 

15 


Adoring  Angels,  though  these  larger  commissions  did 
not  represent  the  only  important  step  which  he  took 
at  the  time.  He  had  long  been  interested  in  the  subject 
of  Renaissance  reliefs  and  medals,  such  as  those  by 
Pisano,  and  Mr.  LaFarge  had  already  urged  him  to 
try  his  hand  at  like  efforts.  Accordingly,  here,  at  last, 
he  found  an  opportunity  to  begin  upon  a  series  of 
medallions  which  through  life  he  developed  with 
marked  interest,  among  them  those  of  Mr.  William 
Gedney  Bunce,  Mr.  Charles  F.  McKim,  Mr.  George 
W.  Maynard,  and  especially  that  of  M.  Bastien 
Lepage. 

^  At  last,  with  the  completion  of  the  Farragut,  Saint- 
Gaudens  definitely  returned  to  New  York  to  take  up 
his  well-established  career  as  an  American  sculptor. 
For  a  time  he  lived  in  the  Sherwood  Studios  at  the 
corner  of  Fifty-seventh  Street  and  Sixth  Avenue.  But 
soon  he  found  a  building  at  1 48  West  Thirty-sixth  Street 
which  he  altered  to  his  taste.  There  he  continued  to 
model  for  the  next  fifteen  years,  starting  with  the  angels 
for  the  tomb  of  Ex-Governor  Morgan,  a  monument 
which  was  burned  in  the  cemetery  while  in  process  of 
carving. 

1^  Here,  too,  in  the  Thirty-sixth  Street  studio,  Saint- 
Gaudens  gathered  about  him  the  friends  of  his  life; 
such  men  as  Mr.  Stanford  White,  Mr.  Charles  F. 
McKim,  Mr.  Joseph  Wells,  and  Mr.  Thomas  W. 
Dewing.  Here  Mr.  H.  H.  Richardson,  the  Boston 
architect,  brought  Bishop  Phillips  Brooks  whenever 
the  two  men  visited  New  York,  giving  the  sculptor  the 
opportunity  of  meeting  the  preacher,  a  monument  to 
whom  was  to  be  one  of  his  last  completed  works. 
And  here,  as  a  boy  to  study  art  and  to  sweep  the 
floors,  came  Frederick  William  MacMonnies. 
^  Saint-Gaudens  had  always  been  a  lover  of  the 
16 


theatre  and  of  music.  Now  he  found  others  who 
resembled  him  in  their  enthusiasm.  Therefore,  first 
this  group,  as  well  as  Mr.  Francis  Lathrop,  formed 
the  habit  of  going  to  a  little  beer  saloon  on  the  East 
side  of  Broadway,  opposite  Washington  Place,  to 
listen  to  programmes  furnished  them  by  the  peculiar 
combination  of  a  violin,  a  clarinet  and  a  piano.  Then 
they  employed  the  musicians  to  come  on  Sunday  after- 
noons to  the  Thirty-sixth  Street  Studio.  And,  a  little 
later,  they  developed  more  ambitious  concerts  which 
were  held  there  weekly  during  the  winters  while  the 
studio  remained  in  Saint-Gaudens'  hands. 
€J  The  intimacy  with  Mr.  Richardson,  which  sprang 
up  rapidly,  led  to  Saint-Gaudens  receiving  the  order 
for  the  monument  to  Colonel  Robert  Gould  Shaw, 
which  stands  in  front  of  the  State  House  in  Boston. 
On  first  consideration,  the  artist  planned  a  modest  relief, 
but,  during  the  fourteen  years  devoted  to  it,  the  com- 
position became  a  labor  of  love  which  consumed  more 
of  the  sculptor's  energy  than  he  ever  put  into  any  other 
commission.  The  work  upon  the  scaffolding  before 
the  Shaw  during  the  hot  summers  with  scarcely  a  pause 
to  eat  an  apple  for  lunch  undoubtedly  hastened  the 
breakdown  of  Saint-Gaudens'  health.  Yet,  on  the 
other  hand,  the  monument  furnished  him  with  much 
amusement — an  amusement  which  he  invariably  ob- 
tained from  his  art — both  through  the  antics  of  the 
horse  which  posed  for  him,  and  through  the  very 
difficulties  he  encountered  in  hiring  negro  models,  who 
persisted  in  believing  the  studio  to  be  the  den  of  a 
devil  of  vivisection. 

tj  Along  in  this  early  period,  too,  came  the  Lincoln  for 
Chicago,  provided  for  in  the  will  of  Mr.  Eli  Bates, 
and  the  relief  of  Dr.  James  McCosh  for  Princeton, 

17 


New  Jersey.  In  the  case  of  the  Lincoln  the  committee 
first  asked  Saint-Gaudens  to  compete.  But  upon  his 
refusing,  according  to  his  principle,  he  received  the 
order  outright  and  eventually  produced  the  gaunt, 
thoughtful  figure  now  so  well  known. 
CJ  The  statue  to  Deacon  Samuel  Chapin,  popularly 
known  as  "The  Puritan,"  followed  the  Lincoln.  It 
has  since  acquired  especial  interest  as  in  1 903  the  New 
England  Society  of  Pennsylvania  commissioned  the 
sculptor  to  make  for  Philadelphia  a  variation  of  the 
first  work,  and  so  therein  Saint-Gaudens  obtained  one 
of  his  few  opportunities  of  modifying  his  earlier  efforts 
in  accordance  with  his  later  ideas.  The  head  he 
changed  from  the  round  Gaelic  face  of  Chapin  to  a 
long  New  England  profile,  more  typical  of  the  austere 
forefather,  while  the  folds  of  the  cloak,  the  Bible  and 
the  base,  he  also  altered  to  an  extent. 
C|  After  the  Chapin  statue,  Mr.  Henry  Adams  ordered 
the  figure  for  the  Rock  Creek  Cemetery  in  Washington. 
In  giving  the  commission  Mr.  Adams  would  only 
suggest  that  Saint-Gaudens  consult  with  Mr.  LaFarge, 
who  thoroughly  understood  Mr.  Adams'  oriental 
thoughts.  Therefore,  the  sculptor  carried  out  his  task 
as  well  as  he  could  with  the  advice  of  the  painter  and 
ultimately,  it  seems,  satisfied  the  wishes  of  Mr.  Adams. 
Though  there  have  been  a  variety  of  names  accorded 
the  result,  Saint-Gaudens  rarely  expressed  himself  on 
the  subject. 

€J  During  this  time,  while  engaged  upon  the  Rock 
Creek  figure,  Saint-Gaudens,  at  the  suggestion  of  his 
friend,  Mr.  C.  C.  Beaman,  first  visited  Cornish,  New 
Hampshire.  There,  soon  afterwards,  he  bought  an  old 
brick  tavern  which  he  altered  into  a  summer  home. 
And  there,  sixteen  years  later,  he  went  to  live  perma- 
nently, much  to  the  benefit  of  his  last  days. 
18 


CJ  About  that  date  also,  in  1887,  the  sculptor  met 
Robert  Louis  Stevenson  through  Mr.  Will  H.  Low, 
an  intimate  mutual  friend.  The  author  and  the  sculptor 
at  once  admired  one  another,  and  the  medallion,  which 
has  since  assumed  so  many  forms,  Saint-Gaudens 
modelled  in  the  Hotel  Albert  in  Eleventh  Street, 
Stevenson  propped  up  in  bed  and  his  wife  reading 
aloud.  Only  five  sittings  of  two  or  three  hours  apiece 
could  be  obtained  then,  though  later  Saint-Gaudens 
had  further  opportunity  when  Stevenson  lived  at 
Manisquan,  New  Jersey. 

^  Shortly  after  this  Saint-Gaudens  set  at  modelling  the 
figure  for  the  "Smith"  tomb  in  Newport,  Rhode  Island, 
from  which  he  developed  the  better  known  "Amor 
Caritas."  The  first  variation  is  now  in  the  Luxem- 
bourg, Paris,  while  a  second  stands  as  a  memorial  to 
the  daughter  of  Dr.  S.  Weir  Mitchell  in  St.  Stephen's 
Church,  Philadelphia. 

€J  In  1 892,  when  the  idea  for  the  World's  Fair  had 
reached  definite  form,  Saint-Gaudens,  at  the  invitation 
of  Mr.  Daniel  H.  Burnham,  went  to  Chicago  with 
Mr.  Richard  M.  Hunt,  Mr.  Charles  F.  McKim  and 
others,  as  one  of  the  Committee  on  the  laying-out  of 
the  grounds.  This  was  about  the  first  of  a  long  series 
of  like  tasks  which  the  sculptor  undertook  through  his 
life,  hoping  in  such  a  way  to  aid  the  cause  of  art  in  his 
country.  Mr.  Burnham  desired  that  Saint-Gaudens 
model  a  share  of  the  sculpture.  But  the  latter  had  so 
many  calls  upon  him  that  he  gave  his  personal  attention 
only  to  the  figure  of  Columbus  in  front  of  the  Admin- 
istration Building,  which  he  carried  out  with  the  able 
assistance  of  Mrs.  Francois  M.  L.  Tonetti,  then  Miss 
Mary  Lawrence,  and  to  the  Exposition  Medal  of 
which  he  designed  the  obverse.    Upon  the  reverse  of 

19 


the  Medal  he  originally  modelled  a  nude  boy,  which 
raised  a  feminine  hue  and  cry.  At  first  he  tried  to 
satisfy  this  in  a  number  of  ways,  but  failing,  he  relin- 
quished the  attempt  in  disgust. 

^  The  statue  of  Peter  Cooper  now  took  the  place  of 
the  Rock  Creek  Cemetery  figure  upon  the  scaffolding 
behind  the  Shaw  relief,  which  seemed  almost  a  fixture. 
On  the  top  floor  of  a  large  stable  in  Twentieth  Street, 
the  sculptor  began  one  monument  to  General  Logan  for 
the  Lake  Front  in  Chicago,  and  another  to  President 
James  A.  Garfield  for  Fairmount  Park,  Philadelphia. 
While  in  a  third  and  smaller  studio,  Saint -Gaudens 
modelled  the  horse  of  the  Sherman  from  the  famous 
high  jumper  Ontario,  began  the  figure  for  the  Sherman 
Victory  from  the  woman  whom  he  always  considered 
to  be  the  handsomest  model  he  had  ever  seen,  and 
finished  with  great  interest  his  bas-relief  of  Mr.  Wil- 
liam Dean  Howells  and  his  daughter,  Miss  Mildred 
Howells. 

€[  Before  turning  from  his  life  in  New  York,  mention 
should  be  made  of  Saint-Gaudens'  teaching  at  the  Art 
Student's  League.  His  work  there  held  a  firm  place 
in  his  thoughts.  Again  and  again  in  later  years  he  said 
regarding  it  that  he  always  had  felt  surprised  to  see  that 
for  the  most  part  women  learned  more  readily  than 
men,  and  that  they  copied  what  stood  before  them  with 
greater  facility,  but  that  in  the  end  the  men  made  the 
further  progress  and  composed  and  created  to  more 
purpose. 

t[  During  these  last  years,  however,  the  sculptor's 
nervousness  increased  startlingly  through  overwork. 
Also  he  became  anxious  to  compare  what  he  had 
done  with  the  sculpture  recognized  in  Europe.  So,  as 
the  unveiling  of  the  Logan  and  the  Shaw  allowed  him 
20 


to  shift  his  studio  paraphernalia,  he  left  for  Paris  in 
October,  1 897.  There  he  hired  a  studio  in  a  quiet, 
garden-like  alley  at  3  bis  Rue  de  Bagneux,  where  he 
remodelled  the  Sherman  Cloak,  the  figure  of  the  Victory 
and  variations  of  the  Stevenson  for  St.  Giles  Church 
in  Edinburgh,  and  where  he  began  his  studies  for  the 
figures  of  the  Boston  Public  Library. 
€f  For  some  time  Saint-Gaudens  seemed  unhappy  and 
neurasthenic.  But  after  a  trip  to  his  father's  birthplace 
with  his  old  friend  M.  Alfred  Gamier,  he  returned  in 
better  spirits  and  took  up  his  life  in  Paris  and  his  in- 
timacy with  Dr.  Henry  Shiff  and  those  others  he  had 
known  so  well  in  younger  days.  He  said  later  that 
the  three  men  who  to  him  stood  out  before  all  the  rest 
at  that  time  were  James  MacNeill  Whistler,  Paul 
Dubois  and  Auguste  Rodin.  Saint-Gaudens  regarded 
Paul  Dubois'  Joan  of  Arc  as  one  of  the  greatest  statues 
in  the  world.  But  Whistler  in  person  most  attracted 
the  sculptor.  For  the  painter  came  often  to  the  studio 
in  the  evening  and  chatted  with  his  usual  wit,  or 
accompanied  Saint-Gaudens  and  his  friends  to  their 
dinner  at  Foyot's,  an  old  cafe  opposite  the  Luxembourg. 
So,  with  such  surroundings,  with  the  gay  life  of  the 
Parisian  spring,  with  the  benefit  of  a  trip  or  two  in 
Spain,  and  with  the  success  accorded  him  by  the 
French  after  his  exhibitions  in  Paris,  he  regained  his 
buoyancy,  until  suddenly  he  learned  that  he  was  ill 
and  must  go  home. 

€][  Saint-Gaudens*  return  to  America  in  1 900  marked 
the  last  period  of  his  life,  a  period  which  he  spent  for 
the  most  part  in  Cornish,  New  Hampshire.  There  he 
completed,  besides  lesser  commissions,  his  monuments 
to  Sherman,  Lincoln,  Brooks  and  the  Caryatids  for  the 
Albright  Art  Gallery  in  Buffalo ;  and  there  he  renewed 
his  thoughts  upon  the  groups  to  go  before  the  Boston 

21 


Public  Library.  At  this  time,  too,  his  attention  turned 
more  than  ever  before  toward  helping  the  cause  of 
American  Art.  Two  objects  in  especial  interested 
him  to  a  tremendous  extent.  One  was  the  founding 
in  Rome  of  the  American  Academy  to  be  devoted  to 
the  Fine  Arts  much  in  the  same  manner  as  the  Villa 
Medici  School  has  been  devoted  by  the  French 
Government.  The  other  was  the  artistic  development 
of  the  National  Capitol  at  Washington ;  where,  in  con- 
nection with  The  Park  Commission,  he  spent  much 
time  and  gave  the  best  of  his  assistance  in  criticism 
and  advice  toward  establishing  on  an  even  firmer  basis 
the  beauty  of  that  city.  Luckily,  although  ill,  he 
continued  his  work  for  longer  than  expected  because  of 
his  life  in  the  open  air.  Skating,  skeeing  and  golf 
he  kept  up  while  his  health  held  out.  And,  at  last, 
when  he  no  longer  could  walk,  he  would  sit  by  the 
hour  upon  one  of  the  porches,  or  he  would  have  himself 
carried  from  studio  to  studio  in  an  improvised  Sedan 
chair. 

tj  His  first  serious  occupation  lay  in  the  completion  of 
the  Sherman  monument,  which  he  modified  from  the 
model  exhibited  in  Paris,  studying  the  bronze  after  it 
had  been  set  up  in  the  field  back  of  the  house  and 
changing  it  even  then.  On  the  Sherman  also,  he 
gratified  his  ambition  to  follow  the  example  set  by  the 
statue  of  Marcus  Aurelius  on  the  Capitoline  Hill  in 
Rome  and  to  gild  an  equestrian  monument.  For,  as 
he  expressed  it,  he  was  "sick  of  seeing  statues  look 
like  stove  pipes/* 

CJ  Second  in  importance  to  him,  he  had  by  him  in  his 
studio  the  studies  for  the  Boston  Public  Library  Groups, 
constantly  turning  over  the  question  of  their  develop- 
ment. One  pedestal  would  have  borne  four  figures 
symbolic  of  Executive  Power,  Law  and  Love.  Upon 
22 


the  other  base  he  planned  three  figures  of  Science, 
Labor  and  Music.  For  his  own  purpose,  the  studies 
were  ready  to  be  completed,  and  if  he  had  lived  he 
would  have  finished  them  in  short  order.  They  had 
long  been  upon  his  conscience.  Yet  to  him  the  problem 
seemed  so  difficult,  since  the  figures  were  to  stand 
where  they  would  force  themselves  upon  the  Library 
visitor,  that  he  felt  unwilling  to  carry  them  through 
until  freed  from  financial  considerations  or  the  limita- 
tions of  ill  health. 

^  The  "Crerar"  Lincoln,  also  for  Chicago,  was  the 
next  vital  commission  which  he  set  to  work  upon  after 
the  Sherman,  and  therein  he  carried  out  his  old  desire 
of  representing  the  President  seated.  The  first  Lincoln 
had  been  a  standing  figure  of  Lincoln  the  Man,  and 
now  by  way  of  contrast  he  wished  to  represent  in 
addition  a  seated  Lincoln  the  Head  of  the  State. 
Therefore,  to  accomplish  the  purpose  fittingly,  he  took 
up  one  of  his  series  of  endless  experiments  with  four- 
foot  models,  composed  in  varying  ways,  and  with 
full-sized  painted  paper  representations  of  the  entire 
composition  erected  out  of  doors.  The  monument  is 
yet  to  be  unveiled,  but  it  went  to  the  bronze  founder 
some  time  before  the  sculptor's  death. 
^Another  statue  which  Saint-Gaudens  attacked  with 
zest  at  virtually  this  same  time,  was  of  Charles  Stewart 
Parnell,  for  Dublin,  Ireland.  The  artist  took  interest 
here,  because,  as  he  often  remarked,  he  had  enough 
Irish  in  his  make-up  to  appreciate  the  character  of  his 
subject.  It  is  a  peculiar  coincidence  that  as  few  photo- 
graphs of  Parnell  could  be  found,  the  sculptor  turned 
to  a  series  of  caricatures  published  in  Punch  and  like 
papers  during  ParneU's  trial.  So  the  very  sketches 
drawn  to  attack  the  patriot  ultimately  came  to  be  used 
in  his  honor. 

23 


^  At  this  time,  also,  among  his  lesser  commissions, 
Saint-Gaudens  completed  such  busts  as  that  of  the 
Honorable  John  Hay  and  such  reliefs  as  those  of  Mrs. 
C.  C.  Beaman,  Justice  Horace  Gray,  the  Honorable 
Wayne  MacVeagh  and  his  Wife,  and  Justice  and 
Mrs.  Stanley  Matthews.  Probably  the  commission 
for  the  MacVeagh  family  absorbed  him  the  most.  The 
sculptor  had  often  dwelt  upon  the  strong  magnetic 
power  of  the  female  sex  as  contrasted  with  the  domi- 
nation of  the  masculine  intellect,  and  therefore  here 
delighted  in  giving  rein  to  his  theories.  Yet  all  portraits 
held  his  attention  since  he  thoroughly  enjoyed  the 
peculiarities  of  his  sitters,  attempting  habitually  to  shift 
his  mental  attitude  to  that  of  the  person  beside  him, 
whether  it  was  a  hyper -sensitive  woman  or  a 
rugged  man. 

€J  It  seems  especially  unfortunate,  in  view  of  his  ill 
health,  that  upon  the  night  of  October  eleventh,  1 904, 
his  chief  studio  should  have  burned  to  the  ground,  not 
only  with  all  the  sculpture  in  progress,  but  as  well  with 
most  of  his  portfolios  containing  the  records  of  forty 
years.  But  he  bravely  set  about  recovering  his  lost 
ground,  and  before  long  had  his  commissions  again 
well  under  way. 

€J  Soon  after  this  fire  he  returned  to  the  Brooks 
monument  which  he  had  studied  since  1901,  and 
which  he  carried  so  far  that  only  mechanical  enlarge- 
ment and  casting  was  needed  for  its  completion  at  the 
time  of  his  death.  As  finished,  the  figure  of  the  preacher 
stands  to  the  front  of  an  architectural  canopy.  His  left 
hand  grasps  a  Bible  that  rests  upon  a  lectern,  his  right 
hand  is  raised  in  a  gesture  of  emphasis,  while  the 
swing  of  the  gown  and  the  direct  look  from  the  head 
gives  an  atmosphere  of  energy  and  motion.  Behind  the 
Brooks,  and  against  a  cross  that  rises  by  His  side,  is  a 
24 


figure  of  Christ,  half  shadowed,  veiled,  reposeful,  who 
touches  the  preacher  on  the  shoulder  with  His  right 
hand  as  if  inspiring  the  words  to  be  spoken.  The 
complete  monument  Saint-Gaudens  reached  through 
his  usual  succession  of  alterations.  In  his  first  efforts  he 
had  an  angel  with  the  Brooks.  Then  he  designed  two 
figures  of  the  Christ  in  relief.  And  only  after  much 
thought  did  he  decide  to  make  this  ideal  figure  in 
the  round. 

^  Saint-Gaudens'  work  now  drew  to  its  close,  and  his 
final  tasks  included  solely  the  designs  for  three  of  the 
United  States  coins,  The  Caryatids  for  the  Albright 
Art  Gallery,  and  the  bas-relief  of  his  wife. 
^  The  coins  he  undertook  at  the  suggestion  of  Presi- 
dent Roosevelt.  But  the  confusion  of  the  carrying  out 
of  this  commission  often  made  him  regret  that  he  had 
entered  upon  it.  Finally,  however,  after  a  discussion 
which  lasted  over  a  year  and  a  half,  it  was  settled  that 
the  Cent  should  exhibit  a  profile  head  on  one  side  and 
lettering  alone  on  the  other;  that  the  Ten-Dollar  gold 
piece  should  carry  the  same  head  with  shifted  inscrip- 
tions and  a  standing  eagle;  and  that  the  Twenty- 
Dollar  gold  piece  should  show  a  full  length  figure  of 
Liberty  and  a  flying  eagle.  The  flying  eagle  Saint- 
Gaudens  developed  from  the  bird  on  the  1857  white 
Cent.  The  standing  eagle,  he  re-altered  from  a  design 
he  had  used  on  such  works  as  the  Shaw  Memorial, 
the  Roosevelt  Inauguration  Medal  and  the  shield  of 
the  Garfield  Monument.  Seventy  or  more  models  of 
the  bird  were  to  be  seen  in  the  studio  waiting  for  the 
casual  visitor  to  name  his  preference.  The  profile  head 
Saint-Gaudens  modelled  in  relief  from  an  unused  bust 
for  the  Sherman  Victory,  while  the  full  length  Liberty 
he  rendered  from  a  scheme  he  had  long  had  in  mind. 
It  is  most  unfortunate  that  the  Mint  did  not  notify  the 

25 


sculptor  when  they  abandoned  the  thought  of  a  new 
design  for  the  Cent,  as  thereon  he  wafted  precious 
hours ;  while  the  placing  of  the  motto  "  In  God  We 
Trust"  on  the  gold  coins  by  other  hands  than  his,  will 
still  further  mar  a  composition  which  has  already 
suffered  greatly  in  the  process  of  reproduction. 
€J  The  Caryatids,  his  final  large  commission,  absorbed 
him  to  a  tremendous  degree  and  marked  his  ultimate 
tendency  to  draw  away  from  the  decorative  in  favor 
of  the  monumental.  As  the  building  they  were  to 
adorn  is  large  and  reposeful,  the  sculptor  wished  to 
reflect  these  qualities.  First  he  considered  having 
winged  figures.  Then  he  believed  it  might  be  well  to 
place  garlands  in  their  hands.  Next  he  originated  the 
scheme  wherein  the  four  central  Caryatids  held 
lettered  tablets,  those  on  the  ends  carrying  palms. 
Finally  he  decided  to  place  palms  in  the  hands  of  the 
ones  on  the  corners,  while  the  middle  figures  should 
bear  objects  which  denoted  Architecture,  Painting, 
Sculpture  and  Music. 

The  relief  which  he  made  of  Mrs.  Saint-Gaudens 
was  the  last  work  which  he  touched  with  his  hands. 
The  composition  diverted  him  greatly  as  he  could 
work  on  it  while  seated.  But  his  death  came  before 
he  could  finish  it. 

1$  During  the  last  few  years  Saint-Gaudens  was  ill  for 
much  of  the  time,  yet  whenever  pain  left  him  for  a  few 
hours,  his  courage  and  his  hope  returned  and  he  con- 
stantly repeated  to  his  friends  that  life  became  more 
and  more  worth  living  as  each  day  passed. 

H.  ASPET. 


26 


HONORS  AND  DEGREES 
AWARDED  TO 
AUGUSTUS  SAINT-GAUDENS 

Corresponding  Member,  Institute  of  France;  Officer  of  the 
Legion  of  Honor,  1901;  Member,  Royal  Academy  of  the 
Sciences  and  Letters  of  the  Beaux  Arts,  Belgium ;  Member, 
American  Academy  in  Rome,  1905;  Corresponding  Member, 
San  Lucca  Academy  of  Rome,  1905;  Member,  Royal  Acad- 
emy, London;  Member,  International  Society  of  Sculptors, 
Painters  and  Gravers,  London;  Medal  of  Honor,  Paris,  1 900; 
Special  Medal  of  Honor,  Buffalo,  1901;  Grand  Prize,  St.  Louis, 
1 904 ;  A  Founder  of  the  Society  of  American  Artists;  Mem- 
ber of  the  National  Academy  of  Design ;  Honorary  Degree, 
LL.D.,  Harvard  University,  1897;  Honorary  Degree,  LH.D., 
Princeton  University,  1897;  Honorary  Degree,  LL.D.,  Yale 
University,  1905. 


27 


4 


HOMER  SCHIFF  SAINT-GAUDENS. 

Number  25. 


MEMORIAL  EXHIBITION 

OF  THE  WORKS  OF 

AUGUSTUS  SAINT. GAUDENS 

1 

BERNARD  P.  E.  S  AINT-G  AUD  ENS 

Bronze  bust,  signed  and  dated  1867.  H.  15  in.  Three- 
quarters  size,  directed  and  looking  left. 

Inscription 

BERNARD  P.  E.  SAINT-GAVDENS. 
Signature 

A.  ST.G.  FECIT.  1867. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.    Father  of  the  sculptor. 


2 

WILLIAM  GEDNEY  BUNCE 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1877. 
H.  6f  in.;  W.  5 J  in.  Head  and  shoulders,  in  profile, 
directed  to  the  right;  wearing  hat.  Sailboat  in  lower  right- 
hand  corner. 

Inscription 

MY  FRIEND  WILLIAM  GEDNEY  BVNCE.  PARIS 
MDCCCLXXVII 

Signature 

AVGVSTVS  SAINT-GAVDENS  FECIT. 
Lent  by  Mr.  W.  G.  Bunce. 

29 


3 


GEORGE  WI  LLOUGH  BY  MAYNARD 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  June,  1877. 
H.  8i  in.;  W.  5f  in.  Head  and  shoulders,  in  profile,  directed 
to  the  left. 

Inscription 

PARIS  JVNE  MDCCCLXXVII.   MON  AMI  GEORGE 
WILLOVGHBY  MAYNARD. 

Signature 

AVGVSTVS  SAINT-GAVDENS. 
Lent  by  Mr.  G.  W.  Maynard. 

4 

WILLIAM  L.  PICKNELL 

Bronze  plaque,  in  low  relief,  signed  and  dated  1877.  H.  7f 
in.;  W.  4i  in.  Head  and  shoulders,  in  profile,  turned  and 
looking  to  the  right.  Palette  and  brushes  indicated  in  lower 
left  corner. 

Inscription 

WILLIAM  L.  PICKNELL,   PAYSAGISTE.   PARIS,  JVNE 
MDCCCLXXVII. 

Signature 

AVGVSTVS  SAINT-GAVDENS. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 


5 

CHARLES  FOLLEN  McKIM 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  August, 
1 878.  H.  7 i  in.;  W.  5  in.  Head  and  shoulders,  side  view, 
30 


head  in  profile,  directed  to  the  right.  A  palette  with  brushes 
in  lower  right  corner. 


Inscription 

MY  FRIEND  CHARLES  MACKIM  ARCHITECT.  PARIS 
AVGVST  MDCCCLXXVIII.   IN  SOWENIR  OF  THE  TEN 
JOLLY  DAYS  PASSED  WITH  YOV  AND  THE 
ILLVSTRIOVS  STANFORD  WHITE  IN  THE  SOVTH  OF 
FRANCE. 

Signature 

AVGVSTVS  SAINT-GAVDENS  FECIT, 
Lent  by  Mr.  C.  F.  McKim. 


6 

AUGUSTUS  SAIN T-G A U D E N S 
CHARLES  F.  McKIM  AND 
STANFORD  WHITE.  (CARICATURE) 

Bronze  medallion,  dated  1878.    D.  6  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


7 

DOCTOR  WALTER  CARY 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1879. 
H.  9f  in.;  W.  6f  in:  Head  and  shoulders,  side  view,  head 
in  profile,  directed  to  the  right;  wearing  hat.  At  left,  coat  of 
arms. 

Inscription  (below) 

WALTER  CARY  M.  D.  MDCCCLXXIX. 
Signature  (above) 

AVGVSTVS  SAINT-GAVDENS  FECIT.  PARIS. 
Lent  by  Mr.  Walter  Cary. 

31 


8 


RICHARD   WATSON   GILDER,  WIFE 
AND  INFANT  SON 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1879.  H. 
Si  in.;  W.  1  7  in.  Quarter  length,  in  profile,  mother  and  son 
at  the  left,  directed  to  the  right;  Mr.  Gilder  at  the  right, 
direded  to  the  left. 

Inscription 

RICHARD  WATSON  GILDER  HIS  WIFE  HELENA  DE  KAY 
AND  RODMAN  DE  KAY  GILDER.   PARIS  MDCCCLXXIX. 

Signature 

A  V  G .  SAINT- GAVDENS  SCVLPTOR. 
Lent  by  Mr.  R.  W.  Gilder. 

9 

RODMAN  DE  KAY  GILDER 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1879.  H. 
1  2>\  in.;  W.  1  5f  in.  Head  of  little  boy,  in  profile,  direded  to 
the  right. 

Inscription 

RODMAN  DE  KAY  GILDER.   PARIS  SEPTEMBER  1879. 
Signature 

F  E  (monogram:  A  ST  G)  C  I  T . 
Lent  by  Mr.  R.  W.  Gilder. 

Note.  A  detail  from  the  group  described  in  Number  8,  but  more  fully 
carried  out. 

10 

MISS  MARIA  M.  LOVE 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1879. 

32 


H.  9f  in.;  W.  6$  in.  Head  and  shoulder,  side  view,  head  in 
profile,  directed  right,  looking  down.  Upper  left  corner,  coat 
of  arms;  upper  right,  ribbon  with  legend  OMNIA  VINCIT 
AMOR. 

Inscription  (below) 

MARIA  M.  LOVE.   PARIS  MDCCCLXXIX. 
Signature 

(Monogram:   A  ST  G)  FECIT. 
Lent  by  Mr.  Thomas  Cary. 


11 

FRANCIS  DAVIS  MILLET 

Bronze  plaque,  signed  and  dated  Paris,  March,  1879.  H. 
10J  in.;  W.  6f  in,  Head  and  shoulders,  side  view,  diredted 
to  the  right,  head  in  profile.  Palette  and  brushes  in  lower  right 
corner. 

Inscription 

FRANCIS  DAVIS  MILLET.  AETATIS  SUE  XXXII.  PARIS, 
MARCH  MDCCCLXXIX. 

Lent  by  Mr.  F.  D.  Millet. 

12 

BENJAMIN  GREENE"  ARNOLD 

Marble  bus!,  signed,  not  dated.  [187?].  H.  2 1  in.  Head 
directed  and  looking  slightly  to  the  left. 

Signature 

A  V  G .  S  AINT-G  A  VDENS  . 
Lent  by  Mr.  Henry  Newton  Arnold. 


33 


13 


ADMIRAL  DAVID  GLASGOW  FAR- 
RAGUT 

Planter  cast  from  a  bronze  Statue,  signed  and  dated  Paris, 
1879-1880.  Heroic  size.  Body  directed  to  the  front,  head 
and  eyes  a  little  to  the  right;  uniform  of  United  States  Admiral, 
sword  at  side,  the  skirt  of  the  coat  turned  back  on  one  side  as 
if  blown  by  the  wind;  right  arm  straight  at  side,  hand 
closed;  left  raised  to  waist-line,  with  telescope  in  hand;  feet 
slightly  separated  as  if  steadying  the  poise  on  an  unstable  base. 
Low  rectangular  plinth. 

Signature  (on  bronze  base) 

MODELLED  BY  A  V  G.  S  A  I  N  T  -  G  A  V  D  E  N  S 
PARIS  MDCCCLXXIX-MDCCCLXXX. 

Lent  by  the  Metropolitan  Museum  of  Art. 

Cast  made  by  permission  of  Commissioner  of  Parks,  Borough  of  Manhattan. 

Note.  The  original  monument  stands  at  the  northeast  corner  of  Madison 
Square  Garden,  New  York  City.  The  stone  pedestal  forms  a  semicircular 
seat,  divided  by  the  pier  upon  which  the  figure  stands,  and  terminating  at 
either  end  in  carved  dolphins.  Upon  the  central  pier  is  a  symbolic  sword, 
plunged  down  through  the  waves  which  flow  across  it  and  over  two  seated 
female  figures  carved  in  low  relief  at  either  side.  The  seat  is  raised  three 
steps  from  the  level  of  the  park,  and  the  space  about  its  foot  is  paved  with 
pebbles  in  which  a  bronze  crab  is  sunk.  The  inscription  which  completes  the 
decoration  of  the  stone  seat-back  reads  in  part  as  follows: 

DAVID  GLASGOW  FARRAGVT.  THAT  THE  MEMORY  OF 
A  DARING  AND  SAGACIOVS  COMMANDER  AND  GENTLE 
GREAT-SOVLED  MAN  WHOSE  LIFE  FROM  CHILDHOOD 
WAS  GIVEN  TO  HIS  COVNTRY  BVT  WHO  SERVED  HER 
SVPREMELY  IN  THE  WAR  FOR  THE  VNION  MDCCCLXI- 
MDCCCLXV  MAY  BE  PRESERVED  AND  HONORED ...  HIS 
COVNTRYMEN  HAVE  SET  VP  THIS  MONVMENT  A.  D. 
MDCCCLXXXI.  BORN  . . .  MDCCCI.  (Follows  a  biographical  sketch.) 
DIED . . .  MDCCCLXX. 

This  was  the  first  statue  commissioned  from  Saint-Gaudens  for  a  public  place. 
It  was  modelled  in  Paris,  exhibited  there  in  the  Salon  of  1880,  and  unveiled 
in  New  York  in  1 88 1 ,  marking  an  epoch  in  American  sculpture  and  decora- 
tive art. 
34 


14 

ADMIRAL  DAVID  GLASGOW  FAR- 
RAGUT 

Bronze  cast  of  the  model  for  the  head,  without  signature  or  date. 
Copyrighted  1908.    H.  12  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  statue  as  completed  for  the  monument  is  dated  1 879- 1 880.  See 
Number  13. 

15 

MRS.  EMELIA  WARD  CHAP  IN 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1879.  H. 
9y  in.;  W.  6  in.    Head  and  shoulders,  in  profile,  directed  right. 

Inscription 

EMELIA  WARD  CHAPIN 
Signature  (above) 

AVGVSTVS  SAINT-GAVDENS  FECIT 
PARIS  MDCCCLXXIX 

Lent  by  Mrs.  E.  W.  Chapin. 

16 

DOCTOR  WILLIAM  EDWARD 
JOHNSTON 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1879.  H. 
9f  in.;  W.  6f  in.    Head  and  shoulders,  side  view,  directed  right. 

Inscription 

GVLIELMVS  EDWARDVS  JOHNSTON  . . .  MRS.  JOHNSTON 
FROM  DOCTOR  CARY. 


35 


Signature 

(Monogram:  A  ST  G)  FECIT.  PARIS,  MDCCCLXXIX 
Lent  by  Professor  R.  M.  Johnston. 


17 

JOHN  S.  SARGENT 

Bronze  medal,  low  relief,  signed  and  dated  Paris,  July,  1 880. 
D.  2 1  in.    Sketch  of  head,  in  profile,  directed  to  the  right. 

Inscription 

MY  FRIEND  JOHN  SARGENT.  PARIS  JVLY  MDCCCLXXX. 
BRVTTO  RITRATO. 

Signature 

FECE  A  ST  G. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


18 

DR.  HENRY  SCHIFF 

Bronze  plaque,  low  relief,  dated  Paris,  May,  1 880.  H.  1  Of 
in.,  W.  1  1  i  in.  Half  length,  side  view,  head  profile,  directed 
to  the  right.    Figure  of  toad  introduced  at  the  right. 

Inscription 

ALL'AMICONE  DOTTORE  HENRY  SCHIFF  AETATIS  XXXX- 
VII.  DEI  ROSPI  DI  ROMA  E  DEI  PVZZI  ROMANI  AMANTE. 
DE  FILOSOFIA  E  DI  BELLE  ARTI  DILETTANTE.  DEL  TIPO 
GAT  TESCO  INAMORATO:  IN  PARIGI  NEL  MESE  DI  MAG- 
GIO  DELL* ANNO  MDCCCLXXX. 

(TRANSLATION:  To  the  dear  friend  Dodtor  Henry  Schiff  at  the  age  of 
forty-seven.  Lover  of  the  toads  and  smells  of  Rome,  dilettante  in  philosophy 
and  the  fine  arts,  admirer  of  the  feline  type :  in  Paris  in  the  month  of  May  of 
the  year  MDCCCLXXX.) 


j6 


Signature 

FECE  AVGVSTVS  S AINT-G A VDENS. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 
Note.    A  redudion  is  in  the  Luxembourg. 

19 

JULES  BASTIEN- LEPAGE 

Bronze  plaque,  low  relief,  signed  and  dated  Paris,  1 880.  H. 
1  A\  in.;  W.  1 9\  in.  Half  length,  directed  to  the  left,  head  in 
profile;  palette  in  left  hand,  a  brush  in  the  right. 

Inscription 

JVLES  BAST1EN-LEPAGE  AETATIS  XXXI.  PARIS  MDCCC 
LXXX. 

Signature 

AVGVSTVS  SAINT-GAVDENS  FECIT. 
Lent  by  Mrs.  Charles  Homer. 

Note.    A  reduction  is  in  the  Luxembourg. 

20 

JOSIAH  GILBERT  HOLLAND 

Plaster  cast  of  plaque  (stained  to  resemble  bronze),  low  relief, 
signed  and  dated  New  York,  1 88 1 .  H.  \5\  in.;  W.  1  Of  in. 
Head  and  shoulders,  side  view,  head  in  profile,  directed  to  the 
right. 

Inscription 

ET  VITAM  IMPENDERE  VERO.  JOSIAH  GILBERT  HOL- 
LAND AT  THE  AGE  OF  FIFTY-SEVEN.  NEW  YORK  A.  D. 
MDCCCLXXVI 


37 


Signature 

FECIT  (monogram:    A  ST  G)  1881. 
Lent  by  Mr.  Bleecker  Van  Wagenen. 

21 

MRS.  CHARLES  CARROLL  LEE 
AND  MISS  LEE 

Bronze  plaque,  low  relief,  signed  and  dated  New  York,  1 88 1 . 
H.  14^  in.;  W.  23|  in.  Two  busls  at  either  end  of  plaque, 
side  view,  heads  in  profile;  Mrs.  Lee  at  right,  directed  left,  Miss 
Lee  at  left,  directed  right.  Between  them  a  shield,  cresl,  and 
narrow  ribbon  scroll. 

Inscription 

(Upper  left  corner)  SARAH  REDWOOD  LEE  AETATIS  XVI.  (Upper 
right  corner)  HELEN  LEE  AETATIS  XXXVIII.  (Below)  NEW  YORK 
MDCCCLXXXI.  MODELLED  BY  AUGUSTUS  SAINT-GAU- 
DENS  FOR  HIS  FRIEND  DOCTOR  CHARLES  CARROLL  LEE 

Lent  by  Mrs.  Charles  Carroll  Lee. 

22 

MISS  SARAH  REDWOOD  LEE 

Bronze  plaque,  low  relief,  signed.  [1881.]  Three-quarters 
length,  three-quarters  to  the  right,  head  in  profile,  hands  clasped 
before  her. 

Inscription 

SARAH  REDWOOD  LEE. 
Signature 

(Monogram:    A  S  T  G)  FECIT. 
Lent  by  Mrs.  Charles  Carroll  Lee. 

Note.    A  reduction  is  in  the  Luxembourg. 

36 


23,  24 


CARYATIDS  FOR  RESIDENCE  OF 
CORNELIUS  VANDERBILT, 
NEW  YORK 

Two  planter  casts  from  models,  without  signature  or  date. 
[  1 88 1  ?]  Total  H.  3  ft,  111  in.  Standing  within  shell-lined 
niches,  female  figures  in  classic  drapery  supporting  (in  the  origi- 
nal) the  ends  of  the  mantel-piece  with  their  uplifted  arms;  one, 
with  head  bowed  on  breast,  the  other  with  head  inclined  to 
the  right. 


Inscription  above  latter 
AMOR. 


Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  latter  caryatid  is  seen  at  the  left  of  the  portrait  of  Mr.  Saint-Gau- 
dens by  Mr.  Cox. 

The  marble  mantel-piece  of  which  the  finished  statues  form  a  part  was  ex- 
ecuted in  collaboration  with  John  La  Farge  about  1881. 


25 

HOMER  SCHIFF  SAINT-GAUDENS 

Bronze,  low  relief,  dated  New  York,  February,  1 882.  H.  20^ 
in.;  W.  \6\  in.  Infant,  seated  in  armchair,  half  length,  side 
view,  directed  to  the  left,  head  in  profile,  looking  left,  hand  on 
arm  of  chair. 

Inscription 

TO  MY  FRIEND  DOCTOR  HENRY  SCHIFF  THIS  PORTRAIT 
OF  MY  SON  HOMER  SCHIFF  SAINT-GAUDENS  AT  THE 
AGE  OF  SEVENTEEN  MONTHS. 

Signature 

AVGVSTVS  SAINT-GAVDENS  NEW  YORK. 
FEBRVARY  MDCCCLXXXII. 


Lent  by  Mrs.  Augustus  Saint-Gaudens. 


39 


26 


DOCTOR  ALEXANDER  HAMILTON 
VINTON 

Planter  cast  from  bronze,  middle  relief,  signed  and  dated  1 883. 
Heroic  size.  Half-length  figure,  wearing  doctor's  gown,  directed 
to  the  right,  head  three-quarters  and  looking  to  the  right;  in  the 
right  hand,  under  the  arm,  a  book.  The  inscription  covers  the 
background. 

Inscription 

ALEXANDER  HAMILTON  VINTON  D.  D.  .  .  .  RECTOR  OF 
EMANVEL  CHURCH,  FROM  1869  TO  1877   

Signature 

(Monogram:    A  S  T  G) 

Lent  by  the  Metropolitan  Museum  of  Art. 

Casl  made  by  permission  of  the  Trustees  of  Emanuel  Church,  Boston. 

27 

CHARLES  TIMOTHY  BROOKS 

Plaster  cast  from  memorial  tablet;  middle  relief,  signed  and  dated 
1 884.  H.  4  ft.  1  in.;  W.  2  ft.  6  in.  Within  a  rectangular  tablet 
a  circular  medallion  containing  life-size  head  and  shoulders,  side 
view,  directed  to  the  left. 

Inscription 

(Above  medallion)  IN  SACRED  MEMORY  OF  THE  FIRST  AND 
BELOVED  MINISTER  OF  THIS  SOCIETY,  (wkhin  medallion) 
CHARLES  TIMOTHY  BROOKS  BORN  IN  SALEM  MASS.  JUNE 
20TH,  1813.  DIED  IN  NEWPORT  R.  I.  JUNE  4TH,  1883.  (Below 
medallion  is  a  eulogy  of  some  length.) 

Signature 

FECIT  A  ST  G  1884. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


Note.  The  original,  in  bronze,  is  in  Channing  Church,  Newport,  R.  I. 
40 


28 


PROFESSOR  ASA  GRAY 

Bronze  plaque,  low  relief,  signed  and  dated  Cambridge,  Mass., 
1 884.  H.  35i  in.;  W.  2  7  in.  Head  and  shoulders,  side  view, 
directed  to  the  left.  In  upper  right  corner,  within  a  wreath  of 
flowers,  three  miniature  books  with  word  VE  |  RI  |  TAS  on 
their  pages. 

Inscription 

ASA  GRAY  MDCCCLXXXIV. 
Signature 

AVGVSTVS  SAINT. GAVDENS  FECIT 
CAMBRIDGE  MASS. 

Lent  by  Harvard  University. 

29 

SILAS  WEIR  MITCHELL 

Bronze  plaque,  low  relief,  signed  and  dated  New  York,  1 884. 
H.  20\  in.;  W.  1 6f  in.  Three-quarters  length,  three-quarters 
to  the  right,  head  in  profile,  directed  right;  right  arm  akimbo,  left 
at  side  with  hat  and  gloves  in  hand. 

Inscription 

(Above)  S.  WEIR  MITCHELL,  PHILADELPHIA.  (Within parch- 
ment scroll  bearing  device  of  rod  and  serpent,  the  date)  MDCCCLXXXIV 
(Below)  JOHN  CADWALADER  FROM  S.  WEIR  MITCHELL. 

Signature 

AVGVSTVS  SAINT-GAVDENS  FECIT 
NEW  YORK 

Lent  by  Mr.  John  L.  Cadwalader. 


41 


i 


30 

MRS.  LOUISE  M.  HOWLAND 

Bronze  high  relief,  signed.  [  1 884?]  H.  39  J  in.;  W.  231  in 
Three-quarters  length  figure,  three-quarters  to  the  left;  head  di- 
rected and  looking  right,  right  arm  resting  on  piano,  hands  clasped. 

Inscription 

LOUISE  MILLER  HOWLAND  . . .  MDCCCLXXXIV. 
Signature 

AVGVSTVS  SAINT-GAVDENS  FECIT. 
Lent  by  Judge  Henry  E.  Howland. 

31 

DUNROBIN 

Terra-cotta  circular  medallion,  low  relief,  signed  and  dated  1 884. 
D.  15  in. 

Inscription 
DUNROBIN. 

Signature 

A.  1884.  ST.  G. 
Lent  by  Mr.  John  Gellatly. 

Note.  This  is  a  portrait  of  the  Scotch  deerhound  Dunrobin,  the  dog  that  was 
used  as  a  model  by  Mr.  Saint-Gaudens  in  his  relief  of  the  Children  of  Jacob 
H.  Schiff. 

32 

WILLIAM  EVARTS  BEAMAN 

Bronze  medallion,  signed  and  dated  1885.    D  (vertical)  18i 
42 


in.;  (horizontal)  1 9  in.  Head  and  shoulders  of  little  boy,  di- 
rected to  the  left. 

Inscription 

QVANTVM  BONVM  EST  VBI  SVNT  PRAEPARATA  PEC- 
TORA  IN  QVAE  TVTO  SECRETVM  OMNE  DESCENDAT 
QVORVM  CONSCIENTIAM  MINVS  QVAM  SVAM  TIMEAS 
QVORVM  SERMO  SOLLICITVDINEM  LENIAT  SENTENTIA 
CONSILIVM  EXPEDEAT  HILARITAS  TRISTRIAM  DISSIPET 
CONSPECTVS  IPSE  DELECTET.  WILLIAM  EVARTS  BEA- 
MAN  IN  HIS  FOVRTH  YEAR  1885. 

Signature 

FE  (monogram:    A  ST  G)  CIT 
Lent  by  Mrs.  C.  C.  Beaman. 


33 

DOCTOR  HENRY  WHITNEY  BELLOWS 

Plaster  cast  from  bronze  memorial  tablet,  middle  relief  [signed 
and  dated  New  York,  1885.]  Full-length  figure,  standing, 
directed  and  looking  three-quarters  to  the  left;  wearing  gown, 
right  arm  bent,  holding  book,  left  at  side;  right  foot  advanced. 
Between  pilasters  supporting  a  round  arch,  the  whole  upon  a 
pediment-shaped  tablet.    H.  1 0  ft.  4  in.;  W.  4  ft.  5|  in. 

Inscription 

(Above)  FORTY-THREE  YEARS  MINISTER  OF  THIS  CHVRCH 
TO  WHICH  HE  GAVE  THE  NAME  ALL-SOVLS  PRESIDENT 
OF  THE  VNITED  STATES  SANITARY  COMMISSION  FROM 
1861  TO  1878.  (Below)  HENRY  WHITNEY  BELLOWS,  D.  D. 
BORN  IN  BOSTON  JVNE  1 1TH,  1814.  DIED  IN  NEW  YORK 
J  AN  VARY  1882. 

Lent  by  the  Metropolitan  Museum  of  Art. 

Casl  made  by  permission  of  the  Trustees  of  All  Souls  Church,  New  York. 


43 


34 


AMOR  CARIT AS 

Planter  cast  from  bronze  high  relief,  signed  and  dated  18  [8  7]. 
Total  H.  8  ft.  9  in.;  W.  4  ft.  Within  a  shallow  niche,  a 
standing  female  figure,  with  upward  curving  wings  partly  sur- 
rounding a  tablet  which  rests  upon  the  head  and  is  lightly  held 
by  the  upraised  hands.  The  figure  is  directed  front,  the  head 
and  eyes  very  slightly  to  the  right,  and  the  sandaled  feet  are 
partly  visible  beneath  the  long  robe.  Girdle  and  crown  of 
passion-flowers. 

Inscription  (on  tablet  above  head ) 
AMOR  CARIT  AS. 

Signature 

AVGVSTVS  S  AINT-GAVDENS. 
MDCCCLXX  [XVII]. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  original  idea  of  this  was  embodied  in  the  figures  on  the  Morgan 
tomb  at  Hartford,  Conn.,  which  were  burned.  From  this  spring  the  figure  of 
the  Maria  Smith  tomb  at  Newport,  and  the  Amor  Caritas  of  the  Luxem- 
bourg, of  which  this  is  a  replica. 


35 

CHESTER  W.  CHAPIN 

Plaster  cast  of  bust,  without  signature  or  date.  [About  1 887.] 
H.  2 1  in.    Directed  and  looking  front. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


44 


AMOR  CARITAS. 

Number  34. 


36 


PORTRAIT  OF  A  LADY 

Planter  ca&  from  unfinished  clay  sketch  of  oval  medallion,  not 
signed,  dated,  or  inscribed.  D.  (vertical)  16  in.;  (horizontal) 
13f  in.  Head  and  shoulders,  three-quarters  to  the  right, 
directed  right,  head  in  profile,  hand  on  chesl. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

37 

WASHINGTON  MEDAL 

A  replica  of  a  bronze  medal,  low  relief,  copyrighted  1 889. 
D.  4i  in. 

(Obverse)  Bust  of  Washington,  side  view,  head  in  profile,  directed  left. 
Continental  costume.  At  the  right,  the  fasces  of  magistracy.  Forming  a 
border  about  the  edge,  thirteen  stars. 

Signature 

PHILIP  MARTIN  Y,  MODELLER.  DESIGN 
AND  COPYRIGHT  BY  AUGUSTUS  SAINT- 
GAUDENS. 

Inscription 

GEORGE  WASHINGTON.   PATER  PATRIAE. 
MDCCLXXXIX. 

(Reverse)  Upper  half,  an  American  eagle,  with  wings  spread,  claws  holding 
arrows  and  olive  branch  bearing  shield  with  legend  E  PLVRIBVS  VNVM. 
Lower  left,  coat  of  arms  of  New  York  State.  Thirty-eight  stars  forming 
border. 

Inscription 

TO  COMMEMORATE  THE  INAVGVRATION  OF  GEORGE 
WASHINGTON  AS  FIRST  PRESIDENT  OF  THE  VNITED 
STATES  OF  AMERICA  AT  NEW  YORK  APRIL  XXX 
MDCCLXXXIX.  BY  AVTHOR1TY  OF  THE  COMMITTEE 
ON  CELEBRATION  NEW  YORK  APRIL  XXX  MDCCC- 
LXXXIX. 


Lent  by  the  American  Numismatic  Society. 


45 


38 


ABRAHAM  LINCOLN  (STANDING 
FIGURE) 

Planter  casT:  from  bronze  statue,  signed  and  dated  1887. 
Heroic  size.  Standing  before  a  chair,  figure  directed  to  the 
front,  head  slightly  bent,  right  arm  thrust  behind  him,  left  grasp- 
ing lapel  of  coat,  left  foot  advanced,  in  an  attitude  characteristic 
of  Lincoln  when  rising  to  make  a  speech. 

Signature 

AUGUSTUS  SAINT -GAUDENS  SCULPTOR 
M  D  C  C  C  L  X  X  X  V  1 1 . 

Lent  by  the  Metropolitan  Museum  of  Art, 

Cast  made  by  permission  of  the  Commissioners  of  Lincoln  Park,  Chicago. 

Note.  The  original  statue  stands  at  the  south  end  of  Lincoln  Park  in 
Chicago,  the  idea  of  an  audience-chamber  being  further  carried  out  in  the 
great  circular  stone  exedra,  sixty  feet  across,  which  surrounds  the  low  pedestal, 
in  the  design  of  which  Mr.  Saint-Gaudens  collaborated  with  the  late  Stanford 
White,  architect.  The  inscription  is  on  the  pedestal  and  back  of  the  exedra, 
and  includes  among  other  things  an  extract  from  the  Cooper  Union  speech  of 
1860:  LET  US  HAVE  FAITH  THAT  RIGHT  MAKES  MIGHT, 
AND  IN  THAT  FAITH  LET  US  TO  THE  END  DARE  TO 
DO  OUR  DUTY  AS  WE  UNDERSTAND  IT. 


4b 


ABRAHAM  LINCOLN. 
Number  38. 


39 


ROBERT  LOUIS  STEVENSON 

Electrotype  reduction  from  the  model  of  the  relief  as  originally 
designed;  in  rectangular  form;  signed  and  dated  New  York, 
September,  1887.  H.  6#  in.;  W.  1  31  in.  Full  length  figure, 
seen  in  profile,  looking  left,  reclining  in  a  bed,  the  lower  limbs 
partly  concealed  by  the  coverlet;  the  left  hand  holding  a  man- 
uscript, the  knees  being  drawn  up  to  support  it,  and  the  right 
hand  poised  in  air,  with  a  cigarette  between  the  fingers.  A 
border  of  ivy  leaves  and  berries  extends  across  the  top  of  the 
plaque,  with  the  inscription  and  signature  written  horizontally 
below  it,  the  figure  of  the  winged  horse  occurring  between  the 
first  two  stanzas  of  the  inscription. 

Inscription  (Stevenson's  poem  beginning) 

YOUTH  NOW  FLEES  ON  FEATHERED  FOOT 

FAINT  AND  FAINTER  SOUNDS  THE  FLUTE. 

(ending) 

LIFE  IS  OVER.  LIFE  WAS  GAY. 

WE  HAVE  COME  THE  PRIMROSE  WAY. 

TO  ROBERT  LOUIS  STEVENSON  FROM  HIS  FRIEND 
AUGUSTUS  SAINT-GAUDENS.  NEW  YORK  SEPTEMBER 
MDCCCLXXXVII. 

Signature:    As  given  above. 

Note.  The  sittings  for  the  head  and  shoulders  took  place  in  New  York 
while  Stevenson  was  ill  there  on  his  way  to  the  Adirondacks.  The  hands 
were  modelled  from  sludies  made  at  Manasquan  just  before  he  left  for 
Samoa. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


47 


40 


ROBERT  LOUIS  STEVENSON 


Placer  caft  from  rectangular  bronze  memorial  tablet  in  Saint 
Giles's  Cathedral,  Edinburgh,  Scotland;  low  relief,  signed  and 
dated  1887-1892.  H.  (of  relief  proper)  5  ft  7  in.,  (of 
plinth)  1  ft.  10  in.;  W.  (of  relief  proper)  9  ft.  H  in.,  (of 
plinth)  9  ft.  2  in.  A  variant  of  the  same  design,  the  figure 
being  the  same,  but  shown  in  full  length,  covered  with  a  travel- 
ling rug  in  place  of  the  coverlet,  having  a  quill  pen  in  hand  in 
place  of  the  cigarette,  and  resting  upon  a  couch  in  place  of  the 
bed,  with  leaves  of  manuscript  scattered  upon  the  floor,  and 
instead  of  the  ivy  border,  extending  across  the  top  and  droop- 
ing at  sides  of  the  relief  a  garland  of  laurel  interwoven  at  the 
ends  with  Scotch  heather  and  Samoan  hibiscus.  The  outline 
of  a  ship  is  shown  in  the  lower  right  corner. 

Inscription 

(Above,  Stevenson's  "Prayer") 

GIVE  VS  GRACE  AND  STRENGTH  TO  FORBEAR  AND 
TO  PERSEVERE.  GIVE  VS  COVRAGE  AND  GAIETY  AND 
THE  QVIET  MIND,  SPARE  TO  VS  OVR  FRIENDS,  SOFTEN 
TO  VS  OVR  ENEMIES.  BLESS  VS,  IF  IT  MAY  BE,  IN  ALL 
OVR  INNOCENT  ENDEAVORS.  IF  IT  MAY  NOT,  GIVE 
VS  THE  STRENGTH  TO  ENCOVNTER  THAT  WHICH  IS 
TO  COME,  THAT  WE  MAY  BE  BRAVE  IN  PERIL,  CON- 
STANT IN  TRIBVLATION,  TEMPERATE  IN  WRATH,  AND 
IN  ALL  CHANGES  OF  FORTVNE,  AND  DOWN  TO  THE 
GATES  OF  DEATH,  LOYAL  AND  LOVING  TO  ONE 
ANOTHER. 

(On  plinth,  below  relief  proper) 

ROBERT  LOVIS  STEVENSON.  BORN  AT  VIII  HOWARD 
PLACE  EDINBVRGH,  NOVEMBER  XIII  MDCCCL.  DIED  AT 
VAILIMA,  ISLAND  OF  VPOLV,  SAMOA,  DECEMBER  III, 
MDCCCXCIV.  THIS  MEMORIAL  IS  ERECTED  IN  HIS 
HONOVR  BY  READERS  IN  ALL  QVARTERS  OF  THE 
WORLD,  WHO  ADMIRE  HIM  AS  A  MASTER  OF  ENGLISH 
AND  SCOTTISH  LETTERS,  AND  TO  WHOM  HIS  CON- 
STANCY UNDER  INFIRMITY  AND  SUFFERING,  AND  HIS 
SPIRIT  OF  MIRTH,  COVRAGE  AND  LOVE,  HAVE  EN- 
DEARED HIS  NAME. 


48 


(Follows  Stevenson's  "Epitaph*  written  by  himself) 

VNDER  THE  WIDE  AND  STARRY  SKY  DIG  THE  GRAVE 

AND  LET  ME  LIE. 

GLAD  THAT  I  LIVE  AND  GLADLY  DIE,  AND  I  LAID  ME 
DOWN  WITH  A  WILL. 

THIS  BE  THE  VERSE  YOV  GRAVE  FOR  ME:  HERE  HE 
LIES  WHERE  HE  LONGED  TO  BE; 

HOME  IS  THE  SAILOR,  HOME  FROM  THE  SEA,  AND 
THE  HVNTER  HOME  FROM  THE  HILL. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


41 

ROBERT  LOUIS  STEVENSON 

Bronze  circular  medallion,  low  relief,  signed  and  dated  1887. 
D.  (vertical)  35f  in.;  (horizontal)  34|  in.  Similar  in  design 
and  inscription  to  the  model  described  under  No.  39,  but 
differing  as  follows:  foot  of  bed  and  lower  quarter  of  figure 
not  visible;  ivy  border  and  verses  of  inscription  made  to  con- 
form to  the  circular  shape  of  the  medallion.  Instead  of  dedi- 
cation "To  Robert  Louis  Stevenson,"  &c,  the  present  example 
reads:  REPLICA  MADE  FOR  CHARLES  DEERING 
BY  HIS  FRIEND  AVGVSTVS  SAINT-GAVDENS. 
ASPET  MCMVI. 

Signature  (below  poem) 

AVGVSTVS  SAINT-GAVDENS. 
MDCCCLXXXVII. 

Lent  by  Mr.  Charles  Deering. 

Note.    The  "dedication"  varies  with  the  name  of  the  recipient,  and  the 
earlier  replicas  differed  in  minor  details  of  modelling. 
A  bronze  reduction  is  in  the  Luxembourg. 


49 


42 

WILLIAM  MERRITT  CHASE 

Bronze  plaque,  low  relief,  signed  and  dated  New  York, 
August,  1888.  H.  21f  in.;  W.  29i  in.  Three  -quarters 
length,  three-quarters  to  the  left,  head  in  profile,  directed  left, 
wearing  artist's  blouse  and  Tarn  O'Shanter  cap;  in  the  left 
hand  are  a  pallette  and  brushes;  the  right  arm,  with  paint-brush 
in  hand,  is  extended  and  rests  on  painter's  slick.  In  the  lower 
left  corner  is  a  medallion  with  design  of  winged  horse. 

Inscription 

WILLIAM  MERRITT  CHASE  IN  HIS  FORTIETH  YEAR 
FROM  HIS  FRIEND  AVGVSTVS  SAINT-GAVDENS.  NEW 
YORK  AVGVST  MDCCCLXXXVIII. 

Signature :    As  given  above. 
Lent  by  Mr.  W.  M.  Chase. 

Note.  The  clay  model  of  this  plaque,  in  somewhat  different  form,  is 
represented  on  the  sculptor's  easel  in  Mr.  Kenyon  Cox's  portrait  of  Saint- 
Gaudens. 

43 

EDWIN  HUBBELLCHAPIN,  D.  D. 

Plaster  cast  from  the  bronze  relief  in  the  Fourth  Universalis! 
Church,  New  York  City.  Signed,  not  dated.  [188?]  H. 
36f  in.;  W.  32  j  in.  Head  and  shoulders,  three-quarters  to 
the  left,  head  in  profile. 

Inscription 

EDWIN  HVBBELL  CHAPIN  D.  D.  BORN  DEC.  29TH,  1814. 
DIED  DEC.  26TH,  1880  HE  BEING  DEAD  YET  SPEAKETH. 
PASTOR  OF  THE  FOVRTH  VN1VERSALIST  SOCIETY  OF 
THE  CITY  OF  NEW  YORK  FROM  MAY  1848  VNTIL  HIS 
DEATH. 


50 


Signature 

(Monogram:  ASTG)  FECIT. 
Lent  by  Mrs.  Augustus  Saint  Gaudens. 

44 

GENERAL  WILLIAM  TECUMSEH 
SHERMAN 

Bronze  bust,  signed.  [  1 888] .  Copyright  by  Augustus  Saint- 
Gaudehs,  1 892.  Total  H.  3 1  \  in.  Shoulders  directed  front, 
head  and  eyes  right;  United  States  military  coat.  The  bust 
rests  upon  a  rectangular  block  bearing  the  inscription,  and  that 
in  turn  upon  a  mass  of  ribbon-bound  laurel  supported  upon  a 
rectangular  slab. 

Inscription 

WILLIAM  TECUMSEH  SHERMAN. 

Signature 

AVGVSTVS  SAINT-GAVDENS. 
Lent  by  U.  S.  Military  Academy  at  West  Point. 

Note.  Modelled  from  life  in  eighteen  sittings.  Served  as  the  study  for  the 
head  of  Sherman  in  the  memorial  statue  unveiled  in  1903. 


45 

MRS.  SCHUYLER  VAN  RENSSELAER 

Bronze  plaque,  low  relief,  signed  and  dated  1 888.  H.  29J 
in.;  W.  7f  in.  Head  and  shoulders,  side  view,  head  profile, 
directed  to  the  left. 

Inscription 

ANIMVS  NON  OPVS.  MDCCCLXXXVIII.  TO  MARIANA 
GRISWOLD  VAN  RENSSELAER. 

51 


Signature 

AVGVSTVS  S  AINT-GA  VDENS. 
Lent  by  Mrs.  Schuyler  Van  Rensselaer. 
Note.    A  reduction  is  in  the  Luxembourg. 


46 


CHILDREN  OF  JACOB  H.  SCHIFF 

Planter  cast  from  bronze,  low  relief,  signed  and  dated  [New 
York],  1888.  H.  5  ft.  9i  in.;  W.  4  ft.  3.  in.  Figures  of 
little  girl  and  boy,  walking,  accompanied  by  greyhound.  Full 
length,  three-quarters  to  the  right;  the  face  of  the  girl  seen  in 
three-quarters  view,  the  boy's  in  profile.  The  former,  some- 
what the  taller,  placed  at  the  right,  leads  the  boy  with  her  right 
hand,  and  with  the  left  holds  the  dog  by  the  collar.  The  boy 
holds  cap  in  right  hand.  Sculptured  frame  effect  of  plinth, 
columns  and  cornice  hung  with  garlands. 

Signature 

AVGVSTVS  S  AINT -G  A  VDENS. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 
Note.    A  bronze  reduction  is  in  the  Luxembourg. 


47 

KEN  YON  COX 

Bronze  plaque,  low  relief,  signed  and  dated  New  York,  1 889. 
H.  19|  in.;  W.  7f  in.  Head,  in  profile,  directed  to  the 
right. 


52 


Inscription 

KENYON  COX  PAINTER  IN  HIS  THIRTY-THIRD  YEAR 
BY  HIS  FRIEND  AVGVSTVS  SAINT-GAVDENS  MDCCCL- 
XXXIX. 

Signature :    As  given  above. 
Lent  by  Mr.  Kenyon  Cox. 

Note.  Executed  two  years  after  the  portrait  painted  by  Mr.  Cox  of  Mr. 
Saint-Gaudens. 


48 


GEORGE  HOLLINGSWORTH 

Planter  cast,  low  relief,  signed  and  dated  1889.  H.  5  ft. 
9  in.;  W.  2  ft.  94  in.  Three-quarters  length,  three-quarters  to 
the  right,  head  in  profile,  directed  to  the  right;  right  arm  akimbo, 
left  resting  on  book.  Frame  effect  produced  by  modelled 
cornice,  plinth  and  moulding. 

Inscription 

GEORGE  HOLLINGWORTH  TEACHER  OF  THE  LOWELL 
INSTITVTE  DRAWING  SCHOOL  FROM  MDCCCLI  TO  MD- 
CCCLXXIX.  THIS  BRONZE  TESTIFIES  TO  THE  LOVE 
OF  HIS  MANY  FRIENDS  AND  TO  THE  GRATITVDE  AND 
ESTEEM  OF  HIS  MANY  PVPILS.  MDCCCXIII  MDCCC- 
LXXXII. 

Signature 

A  ST  G  FECIT  '99. 

Lent  by  the  Metropolitan  Museum  of  Art. 

CaSt  made  by  permission  of  Boston  Museum  of  Fine  Arts. 

Note.    The  original,  in  bronze,  is  in  the  Boston  Museum  of  Fine  Arts. 


53 


49 


DOCTOR  JAMES  McCOSH 

Planter  cast  from  bronze  memorial  tablet,  middle  relief,  signed 
and  dated  1 889.  Full-length  figure,  standing,  directed  front, 
head  three-quarters  and  looking  right;  wearing  doctor's  gown; 
right  hand  extended,  left  resting  upon  reading-desk.  H.  8  ft. 
3i  in.;  W.  4  ft.  7f  in. 

Inscription  (above) 

JAMES  McCOSH  D.  D.  LL.  D.  FOR  TWENTY  YEARS  PRES- 
IDENT OF  PRINCETON  COLLEGE  OCTOBER  XXVII 
MDCCCLXVIII.  JVNE  XX  MDCCCLXXXVIII.  ERECTED  IN 
HIS  HONOR  BY  THE  CLASS  OF  MDCCCLXXIX.  JVNE 
XVIII  MDCCCLXXXIX. 

Lent  by  the  Metropolitan  Museum  of  Art. 
Cast  made  by  permission  of  Princeton  University. 


50 

MISS  VIOLET  SARGENT 

Bronze  plaque,  low  relief,  signed  and  dated  1890.  Full- 
length  seated  figure,  directed  three-quarters  to  the  right,  head 
in  profile,  holding  in  the  hands  a  guitar,  the  limbs  crossed. 
H.  501  in.;  W.  34i  in. 

Inscription  (within  ivy-wreath) 
VIOLET  SARGENT. 

Signature 

A.  ST  G  MDCCCLXXXX  FECIT. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 


54 


51 


SEAL  FOR  THE  PUBLIC  LIBRARY 
BOSTON,  MASSACHUSETTS 

Planter  cast  from  which  the  stone  rectangular  high  relief  was  cut, 
signed.  [1891?]  H.  4  ft.;  W.  6  ft.  A  shield,  bearing  a 
book,  is  supported  on  either  side  by  nude  figures  of  boys,  each 
carrying  a  torch.    Above,  a  ribbon  scroll. 

Inscription 

OMNIVM  LVX  CIVIVM.   MDCCCLII  MDCCCLXXXIII. 
Signature 

BY  A.  ST.  G. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


52 

THE  HEAD  OF  THE  FIGURE  ON  THE 
ADAMS  MONUMENT 

This  head  was  in  the  studio  of  Mr.  Augustus  Saint-Gaudens 
when  everything  was  destroyed  in  1 904  with  the  exception  of 
this  head  and  the  portrait  of  his  son,  Mr.  Homer  Saint-Gaudens. 
"The  Adams  Monument  head  was  especially  notable  that  dreary 
morning  after  the  fire  when  there  was  absolutely  nothing  else  left 
standing  or  saved." 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


55 


53 


ADAMS  MONUMENT,  ROCK  CREEK 
CEMETERY,  WASHINGTON,  D.  C. 

Planter  cast  from  bronze  statue,  unsigned  and  undated.  [About 
1 89 1  ] .  A  figure,  enveloped  in  heavy  drapery,  which  covers 
the  head  and  body  with  the  exception  of  the  face  and  right 
arm,  the  hand  of  which  supports  the  chin.  Directed  to  the 
front,  eyes  lowered. 

Lent  by  the  Metropolitan  Museum  of  Art. 
Cast  made  by  permission  of  Mr.  Henry  Adams. 

Note.  The  monument  consists  of  a  block  of  granite  against  which  the 
figure  leans,  and  which  forms  one  side  of  an  hexagonal  plot  of  about  twenty 
feet  in  diameter.  Opposite  and  occupying  three  sides  of  the  hexagon  is  a 
massive  stone  bench.  The  figure  has  been  variously  interpreted,  although 
Saint-Gaudens  gave  no  name  to  it. 


56 


ADAMS  MONUMENT. 
Number  53. 


54 


DIANA 

Bronze  cast  from  a  study  for  the  head,  without  date.  Copy- 
righted 1908.    H.  9i  in. 

Signature 

(Monogram:    A  ST  G) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

55 

DIANA 

Reduction  in  bronze  from  the  Diana  surmounting  the  Madison 
Square  Garden  tower,  with  drapery  omitted.  Not  signed  or 
dated.  Total  H.  4 1  f  in.  Attitude  similar  to  that  of  Number 
56,  bow  and  arrow  present,  crescent  omitted.    No  inscription. 

Lent  by  Mr.  Charles  F.  McKim. 

Note.  A  large  Statue  of  Diana,  modelled  in  1892,  was  exhibited  in  bronze 
at  the  World's  Fair  in  Chicago  in  1893,  and  now  forms  the  weathervane  for 
Montgomery  Ward's  tower  on  the  Lake  Front  in  Chicago.  A  smaller  slatue, 
which  also  has  the  drapery,  was  placed  above  the  tower  of  Madison  Square 
Garden,  New  York. 

56 

DIANA 

Bronze  cast  from  early  clay  sketch,  not  signed.  H.  (of  figure) 
25  in.;  (of  pedestal)  5  in.  Nude  figure  poised  with  one  foot 
upon  a  sphere.  Head  turned  to  left,  crescent  on  brow;  left  arm 
extended,  right  flexed,  in  attitude  of  archer  shooting;  bow  and 
arrow  absent.    No  inscription. 


Lent  by  Mr.  John  Gellatly. 


57 


57 


MRS.  GROVER  CLEVELAND 

Planter  cast  from  model  in  form  of  circular  medallion,  not  signed 
or  dated.  D.  1  7  in.  Head  and  shoulders,  three-quarters  to  the 
left,  head  three-quarters  and  looking  left. 

Inscription 

FRANCES  FOLSOM  CLEVELAND. 
Lent  by  Mrs.  Augustus  Saint- Gaudens. 


58 

MRS.  GROVER  CLEVELAND 

Bronze  medallion,  low  relief,  signed  and  dated  1892.  D.  5f 
in.    Head  and  shoulders,  three-quarters  and  looking  left. 

Inscription 

FRANCES  FOLSOM  CLEVELAND  MARION  MASSACHU- 
SETTS.  AVGVST  MDCCCXCII. 

Signature 

(Monogram:   A   ST  G.) 

Lent  by  Mrs.  Grover  Cleveland. 

Note.    A  reduction  rom  Number  57. 


58 


59 


MEDAL  OF  WORLD'S  COLUMBIAN 
EXPOSITION,  CHICAGO 

Bronze  medal,  cast,  low  relief,  signed.  Date  of  inscription 
1892-1893.   D.  4  in. 

(Obverse)  Figure  of  Columbus  in  armor  with  sword  and  cloak;  full-length, 
body  and  head  three-quarters,  directed  left,  eyes  raised,  arms  outspread,  right 
foot  advanced.  Background :  portions  of  a  ship,  an  unfurled  banner,  and 
figures  of  three  men  visible  in  part;  in  distance  a  symbolic  device  of  ships  passing 
the  pillars  of  Hercules,  and  words  PLVS  VLTRA. 

Inscription 

CHRISTOPHER  COLVMBVS  OCT.  XII  MDCCCXCII. 

Signature  (below,  partly  effaced) 
AVGVSTVS  SAINT-GAVDENS. 

(Reverse)  Undraped  figure  of  a  youth  Standing  upon  a  hill-top,  and  sup- 
porting a  tall  shield,  directed  and  looking  front,  right  arm  extended,  hand  grasp- 
ing a  torch;  left  arm,  with  hand  holding  three  wreaths,  resting  upon  the  shield. 
The  shield  bears  under  the  motto  E  PLVRIBVS  VNVM,  an  American 
eagle  with  arrows,  olive  branch  and  small  shield.  At  the  right  of  the  large 
shield  is  a  young  oak  tree. 

Inscription 

THE  COLVMBIAN  EXHIBITION  IN  COMMEMORATION  OF 
THE  FOVR  HVNDREDTH  ANNIVERSARY  OF  THE  LAND- 
ING OF  COLVMBVS.  TO  AVGVSTVS  SAINT-GAVDENS. 
MDCCCXCII-MDCCCXCIII. 

Signature 

(Monogram:    A  ST  G) 

Lent  by  Mr.  Louis  Saint-Gaudens. 

Note.    Cast  from  the  original  study,  reduced. 


59 


60 


MEDAL  OF  WORLD'S  COLUMBIAN 
EXPOSITION,  CHICAGO 

Two  electrotype  medallions  from  obverse  and  reverse  of  similar 
design,  with  slight  variation.  D.  8  in.  (encircled  by  one-half 
inch  rim  left  in  electrotyping.) 

Lent  by  the  United  States  Mint  in  Philadelphia. 

Note.  Design  of  obverse  same  as  the  above.  The  design  of  the  reverse  (re- 
jected by  the  Quadro-Centennial  Committee  of  the  United  States  Senate)  re- 
sembles  the  original  sketch  except  in  having  a  blank  tablet  for  the  name  of  the 
recipient  at  lower  left  with  three  fleurets  below  it,  and  some  minute  changes 
in  the  shield  bearings. 

61 

MEDAL  OF  WORLD'S  COLUMBIAN 
EXPOSITION,  CHICAGO 

The  medal  as  finally  cast,  with  the  obverse  (a)  as  designated 
by  Saint-Gaudens,  and  in  place  of  the  nude  figure,  &c,  of  the 
reverse  (b),  a  design  by  Mr.  Charles  E.  Barber  of  the  United 
States  Mint.    D.  4  in. 

Lent  by  Mr.  George  F.  Kunz. 

62 

STUDY  OF  A  CHILD 

Bronze  medallion,  low  relief,  unsigned,  dated  1892.  D.  2f  in. 
Head  and  shoulders,  three-quarters  to  the  right,  head  in  profile, 
directed  right. 

Inscription 

. . .  MDCCCXCII. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

60 


63 


CHARLES  COTESWORTH  BEAMAN 

Bronze  plaque,  low  relief,  signed  and  dated  1 894.  H.  26^  in.; 
W.  1  5i  in.  Figure  half  length,  head  in  profile,  directed  and 
looking  to  the  right,  right  hand  in  pocket. 

Inscription 

MDCCCLXXXIV.  CHARLES  COTESWORTH  BEAMAN  BY 
HIS  FRIEND  AVGVSTVS  SAINT-GAVDENS. 

Signature :    As  given  above. 
Lent  by  Mrs.  C.  C.  Beaman. 

Note.    A  reduction  is  in  the  Luxembourg. 


64 

GARFIELD  MONUMENT,  FAIR- 
MOUNT  PARK,  PHILADELPHIA 

Plaster  cast  from  bronze  bust  of  James  Abram  Garfield,  unsigned, 
dated  1895.  Colossal  size.  Undraped;  head  directed  and 
looking  front.    Date  inscribed  below  on  tablet :  MDCCCXCV* 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


65 

GARFIELD  MONUMENT,  FAIR- 
MOUNT  PARK,  PHILADELPHIA 

Plaster  cast  from  bronze  statue  of  the  "Republic",  signed  and 
dated  1895.  Heroic  size.  Standing  female  figure  in  flowing 
robe  and  liberty  cap;  directed  and  looking  front;  in  the  left  hand 
a  palm  branch,  the  right  resting  on  an  oval  shield  held  directly 
before  the  figure. 


61 


Inscription  ( on  shield) 

JAMES  ABRAM  GARFIELD  PRESIDENT  OF  THE  VNITED 
STATES  MDCCCLXXXI. 

Lent  by  the  Metropolitan  Museum  of  Art. 

Cast  made  by  permission  of  the  Commissioners  of  Fairmount  Park,  Phila- 
delphia. 

Note.  The  monument  proper  is  a  tall  marble  quadrilateral  slele  with  Doric 
pilaslers  at  the  angles,  supporting  an  entablature  upon  which  resls  the  bust,  and 
below  which,  filling  a  niche  in  the  anterior  face,  stands  the  figure  of  the 
"Republic." 


66 

MISS  ANNIE  PAGE 

Bronze  head,  signed  and  dated  1 895,  copyrighted  1908.  H. 
1 8i  in. 

Signature 

MDCCC  (monogram:    A   ST   G)  XCV 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


67 

WILLIAM  ASTOR  CHANLER 

Bronze  bust,  signed  and  dated  1896.  H.  I9i  in.  Head 
and  chest  directed  front. 

Inscription 

WILLIAM  ASTOR  CHANLER 


62 


Signature  (script) 

AUGUSTUS  ST.  GAUDENS,  1896 
Lent  by  Mrs.  John  J.  Chapman. 


68 

PETER  COOPER 


Plaster  cast,  of  heroic  size,  of  head  from  bronze  statue,  the  orig- 
inal signed  and  dated  1897.    H.  26  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  monument  of  which  this  is  a  detail  is  at  the  side  of  Cooper 
Union,  New  York  City,  in  honor  of  its  founder.  Mr.  Saint-Gaudens  at- 
tended school  at  the  Union  in  his  youth. 


69 


MEMORIAL  TO  COLONEL  ROBERT 
GOULD  SHAW,  BOSTON 

Piaster  cast  of  early  sketch  for  bronze  relief;  without  signature 
or  date.  H.  1  A\  in.;  W.  1 5-g-  in.  Equestrian  figure  of  Shaw, 
directed  to  the  left,  and  surrounded  by  foot  soldiers,  the  whole 
surrounded  by  architectural  frame. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  commission  for  the  memorial  to  Colonel  Shaw,  Commander  of 
the  Fifty-Fourth  Massachusetts  Regiment  (colored  troops),  who  fell  at  Fort 
Wagner,  was  given  by  the  State  of  Massachusetts  in  1884.  The  work,  with 
its  many  modifications,  extended  over  an  interval  of  twelve  years,  the  com- 
pleted monument  being  unveiled  in  1 897. 


63 


70 


MEMORIAL  TO  COLONEL  ROBERT 
GOULD  SHAW,  BOSTON 

Bronze  cast  for  a  study  for  the  head  of  Colonel  Shaw;  without 
signature  or  date.    H.  1 0\  in. 

Signature 

(Monogram:    A  ST  G) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


71 

MEMORIAL  TO  COLONEL  ROBERT 
GOULD  SHAW,  BOSTON 

Six  plaster  casts  of  studies  for  the  heads  of  negroes;  without 
signature  or  date.    One-third  life  size. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


72 

MEMORIAL  TO  COLONEL  ROBERT 
GOULD  SHAW,  BOSTON 

Plaster  cast  of  early  study  for  female  figure,  low  relief;  without 
signature  or  date.    L.  37  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


64 


73 


MEMORIAL  TO  COLONEL  ROBERT 
GOULD  SHAW,  BOSTON 

Planter  casl:  of  later  Study  for  female  figure,  low  relief ;  without 
signature  or  date.    L.  1 0  ft.  7  in. 

Note.  The  female  figure,  which  seems  to  symbolize  death  and  fame,  is  seen 
in  the  finished  relief,  floating  above  and  a  little  in  advance  of  the  figure  of 
Shaw,  the  position  being  nearly  horizontal,  directed  to  the  right,  the  eyes,  as 
in  the  latter  casl,  being  lowered,  the  left  arm  extended,  palm  upward,  and 
the  right  arm  clasping  to  the  breast  poppies  and  a  laurel  branch,  the  whole 
enveloped  in  sweeping  draperies. 

A  large  photograph  of  the  finished  relief  is  abo  shown. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

74 

SHERMAN  MONUMENT:  FIRST 
SKETCH  FOR  HEAD  OF  VICTORY 

Bronze  bust  on  circular  base ;  signed  and  dated  1897.  Total 
H.  1  3  in.  One-third  life  size,  directed  and  looking  front ;  hair 
in  Grecian  knot. 

Inscription  (on  applied  tablet  below) 

FIRST  SKETCH  OF  HEAD  OF  VICTORY, 

SHERMAN  MONUMENT... 

Signature 

AVGVSTVS  SAINT-GAVDENS,  1897. 
Lent  by  Miss  Hettie  E.  Anderson. 

75 

CHARLES  ANDERSON  DANA 

Bronze  low  relief,  signed.  [1 898.]  H.  37f  in.;  W.  1 9f  in. 
Head  and  shoulders,  side  view,  directed  and  looking  to  the  left. 

65 


Inscription 

(At  left  within  ivy-wreath)  CHARLES  ANDERSON  DANA,  (below 
on  tablet)  MDCCCXIX-MDCCCXCV1I. 


Signature 
A  ST  G 

Lent  by  Mr.  William  M.  Laffan. 


76 

WILLIAM  DEAN  HOWELLS 
AND  MISS  HOWELLS 

A  replica,  with  differing  patina,  of  a  bronze  plaque,  low  relief, 
signed  and  dated  New  York,  1 898.  H.  8J  in.;  W.  1  3J  in. 
Two  figures,  three-quarters  length,  side  view,  heads  in  profile ; 
Miss  Howells  at  the  left,  looking  right,  her  left  arm  resling  upon 
a  small  table,  chin  in  hand  ;  Mr.  Howells  at  the  right,  looking 
left,  with  a  manuscript  in  the  left  hand  and  eye-glasses  in  the 
other. 

Inscription 

MILDRED  AND  WILLIAM  DEAN  HOWELLS  NEW  YORK 
MDCCCXCVIII.   FROM  AVGVSTVS  SAINT-GAVDENS. 

Signature  as  given  above. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

77 

AMOR  CARITAS 

Bronze  relief,  signed  and  dated  1898.  H.  39 J  in.;  W. 
1  7i  in. 

Reduction  of  number  34. 
Signature 

AVGVSTVS   SAINT-GAVDENS  MDCCCXCVIII 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

66 


78 


MRS.  CHARLES  COTESWORTH 
BEAMAN 

Bronze  plaque,  low  relief,  signed  and  dated  Cornish,  N.  H., 
Odl.,  1900.  H.  23  in.;  W.  21i  in.  Three-quarters  length, 
side  view,  seated,  head  in  profile,  directed  and  looking  left. 

Inscription 

CORNISH  NEW  HAMPSHIRE  OCTOBER  NINETEEN  HVN- 
DRED.  (Within  ivy- wreath)  HETTIE  SHERMAN  BEAMAN. 

Signature 

( Monogram :    A  ST  G  ) 

Lent  by  Mrs.  Charles  Cotesworth  Beaman. 

79 

MRS.  JOHN  CHIPMAN  GRAY 

Bronze  plaque,  low  relief,  signed  and  dated  October,  1902. 
H.  35  J  in.;  W.  23#  in.  Three-quarters  length,  seated  with 
back  partly  turned,  head  in  profile,  directed  to  the  left;  hands 
clasped  on  arm  of  chair;  evening  dress.  The  plaque  is  orna- 
mented above  with  a  palmette  and  scrolls. 

Inscription 

CORNISH  NEW  HAMPSHIRE  OCTOBER  MDCCCCII. 
Signature 

(Monogram:  A  ST  G ) 

Note.  The  carved  wood  tablet  upon  which  the  plaque  is  mounted  is  in- 
scribed :  ANNA  LYMAN  GRAY. 

Lent  by  Mr.  John  Chipman  Gray. 

80 

HENRY  ADAMS  (CARICATURE) 
Bronze  medallion,  signed  and  dated  1 904.    D.  1\  in. 

67 


Signature 
A  ST  G 


Lent  by  Mrs.  Augustus  Saint-Gaudens. 

81 

JAMES  WALL  FINN  (CARICATURE) 

Bronze  medallion,  signed  and  dated  1 904.  D.  (vertical)  6£ 
in.;  (horizontal)  6J  in. 

Signature 

(Monogram:  A  ST  G  ) 
Lent  by  Mr.  J.  W.  Finn. 

82 

CHARLES  A.  PLATT  (CARICATURE) 
Bronze  plaque,  signed  and  dated  1 904.  H.  9 J  in.;  \V.  3J  in. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

83 

HONORABLE  JOHN  HAY 

Bronze  bust,  signed  and  dated  Washington,  1904.  H.  25 
in.  Head  directed  and  looking  slightly  to  the  right;  wearing 
overcoat. 

Inscription 

WASHINGTON  MCMIV. 
Signature 

AVGVSTVS  SAINT-GAVDENS. 

Lent  by  Mrs.  John  Hay. 
68 


JOHN  HAY. 
Number  83. 


84 


PLAQUE  COMMEMORATIVE  OF  THE 
CORNISH  CELEBRATION 
JUNE  23,  1905 

Bronze  plaque  in  low  relief.    H.  32f  in.;  W.  1 9 \  in. 

Design  :  Temple  of  Love. 
Inscription 

(Names  of  participants.)  (On  altar)  AMOR  VINCIT  ...  IN  AFFEC- 
TIONATE REMEMBRANCE  OF  THE  CELEBRATION  OF 
JVNE  XXIII.  MCMV.  AVGVSTA  AND  AVGVSTVS  SAINT- 
GAVDENS. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  Occasioned  by  the  "Masque  of  the  Golden  Bowl"  given  at  Cornish, 
N.  H.,  to  celebrate  the  twentieth  anniversary  of  Saint-Gaudens'  coming  there. 

85 

HEAD  OF  VICTORY 

Bronze  medallion,  low  relief,  signed.  [1906.]  Copyright  by 
Augustus  Saint-Gaudens,  1907.  D.  (vertical)  9i  in.;  (hori- 
zontal) 9 J  in.  Head  of  woman,  in  profile,  with  parted  lips; 
directed  left;  wearing  olive  wreath. 

Inscription 
NIKH-EIPHNH. 

Signature 

(Monogram:    A  ST  G  ) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  From  the  model  originally  designed,  but  not  used  for  the  one- cent  piece. 


69 


86 


FIGURE   OF   VICTORY   FROM  MON- 
UMENT TO  GENERAL  WILLIAM 
T  E  CUM  SE  H  SHERMAN 

"Before  the  horse  and  rider  walks  a  winged  female  figure — 
Nike-Eirene,  or  Vidtory- Peace — laurel  crowned,  right  arm 
extended  and  holding  in  her  left  hand  a  palm  branch." 

Lent  by  Mrs.  Augustus  Saint- Gaudens. 

Note.  This  figure  was  firft  exhibited  with  the  whole  plaster  casl  at  the  Paris 
Exposition  in  1 900.  The  Statue  with  alterations  again  at  the  Pan-American 
Exposition,  Buffalo,  in  1901.  Eleven  years  in  all  of  Study  and  alterations 
elapsed  before  the  group  was  finished  and  unveiled  on  Decoration  Day, 
1903,  at  the  south  entrance  to  Central  Park,  New  York. 


70 


87 

ALLEGORICAL   GROUPS  DESIGNED 
FOR  ENTRANCE  TO  BOSTON 
PUBLIC  LIBRARY 

Two  planter  casts  from  models,  without  signature  or  date. 
[1907.]  Average  H.  30  in.;  W.  5  ft.;  D.  18  in.  One  group 
(a)  represents,  by  means  of  three  seated  figures  bearing  em- 
blems, Music,  Labor  and  Science,  while  the  other  group  (b) 
represents  Executive  Power,  Law  and  Love. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

88 

STUDY  FOR  THE  HEAD 
OF  CHRIST 

Marble  head,  on  square  block  of  marble;  signed,  not  dated. 
[1907.]  Total  H.  16  in.  About  three-quarters  life  size,  di- 
rected front,  looking  down;  face  bearded,  hair  falling  in  long 
locks  to  the  base  of  the  neck. 

Signature 

(Monogram:    A  ST  G) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

89 

STUDY  FOR  THE  HEAD 
OF  CHRIST 

A  replica  in  bronze  of  Number  88. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


71 


90 


ABRAHAM  LINCOLN  (SEATED 
FIGURE) 

Placer  casT:  of  bronze  Statue,  signed  and  dated  1907.  Heroic 
size.  Seated  in  armchair,  body  and  head  directed  to  the  front, 
head  slightly  lowered  as  if  in  thought;  right  hand  open,  palm 
down,  on  knee;  left,  closed  and  resting  on  arm  of  chair;  feet, 
set  squarely  on  circular  base.  Across  the  back  of  the  chair  and 
drooping  to  the  floor  a  flag. 

Inscription.    (To  be  engraved  on  pedestal.) 
Signature 

AVGVSTVS  SAINT-GAVDENS  MCMVII. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  This  was  one  of  Saint-Gaudens's  las!  statues,  a  gift  to  the  south  side 
of  the  city  of  Chicago  by  bequest  of  the  late  John  Crerar  of  that  city.  By 
special  courtesy  of  the  Trustees  of  the  Fund  for  its  erection  we  are  permitted 
to  view  it  for  the  first  time  here  before  it  is  transferred  to  its  ultimate  destina- 
tion.   Compare  the  standing  statue  of  Lincoln,  erected  in  1887  (No.  38.) 


91 

MRS.  AUGUSTUS  SAINT-GAUDENS 

Bronze  relief,  signed  and  dated  1907.  H.  36  in.;  W.  21  in. 
Three-quarters  length  figure,  in  profile,  turned  to  left ;  in  right 
hand  a  bowl  of  flowers,  the  left  holding  up  the  skirt  of  dress. 
Background  of  two  Doric  columns  with  landscape;  dog  roughly 
sketched  in  lower  left  corner.  Unfinished. 

Signature 

(Monogram:    A  ST  G ) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


72 


92 


WHISTLER  MEMORIAL,  AT  UNITED 
STATES  MILITARY  ACADEMY, 
WEST  POINT,  N.  Y. 

Plaster  model  for  marble  tablet,  low  relief,  signed  1907.  H. 
1  1  ft.  1  in.;  W.  at  base  36  in.;  W.at  top  31i  in.  A  slender 
stele  surmounted  by  carved  anthemion,  the  decoration  being 
chiefly  furnished  by  the  lettering  which  descends  in  lines  of 
irregular  length  between  two  Greek  torches,  with  a  small  wreath 
above  and  Whistler's  butterfly  device  below. 

Inscription 

TO  JAMES  MCNEILL  WHISTLER  MDCCCXXIV.  MCMVIII. 
THE  STORY  OF  THE  BEAUTIFUL  IS  ALREADY  COM- 
PLETE HEWN  IN  THE  MARBLES  OF  THE  PARTHENON 
AND  BROIDERED  WITH  THE  BIRDS  UPON  THE  FAN 
OF  HOKUSAI. 

Signature 

(Right:    Monogram,    A  ST  G    Left:    HB  ) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.    Done  in  collaboration  with  Mr.  Henry  Bacon,  archited:. 


93 

WHISTLER  MEMORIAL,  AT  UNITED 
STATES  MILITARY  ACADEMY, 
WEST  POINT,  N.  Y. 

Small  sketch,  without  signature  or  date,  of  Number  92.  H. 
38i  in.;  W.  at  top  10J  in.,  at  base  14  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


73 


94 


WHISTLER  MEMORIAL,  AT  UNITED 
STATES  MILITARY  ACADEMY, 
WEST  POINT,  N.  Y. 

Plaster  sketches,  without  signature  or  date.  [1907  ?]  H. 
30  in.;  W.  at  top  8  in.,  at  base  1 4  in.  Greek  Steles.  At 
either  side  a  torch ;  three  wreaths  above,  a  palette  below,  with 
the  lettering  of  the  inscription  roughly  indicated. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 
Note.    See  also  Number  92. 

95 

SKETCHES  OF  FIGURE  OF  PAINT- 
ING FOR  PROPOSED  FREER 
GALLERY,  AT  WASH- 
INGTON, D.  C. 

Planter  caSts  of  Stele.  [1907  ?]  (a)  H.  48^  in.;  W.  at  top 
1  1  in.,  at  base  1  7  in.  (b)  H.  23f  in.;  W.  8|  in.  Figure  of 
woman  in  classic  robe,  directed  front;  in  right  hand  a  paint 
brush,  in  left  a  palette.    Tree  indicated  at  the  right. 

Lent  by  Mr.  Charles  Freer. 

96 

STUDY  FOR  A  HEAD 

Marble  bust,  about  half  life  size,  without  signature  or  date.  H. 
1  1  in.  Head  slightly  inclined  to  the  left;  hair  in  Grecian  knot; 
undraped. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


74 


97 

MORRISON  REMICH  WAITE, 
CHIEF  JUSTICE  OF  THE 
UNITED  STATES 

Planter  cast  of  bust,  without  signature  or  date.  H.  27  in. 
Heroic  size.  Head  directed  slightly  to  the  right;  wearing  robe 
of  office. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  original,  in  marble,  is  in  the  Hall  of  Justice  in  Washington,  D.  C. 


98 


MODELS  FOR  UNITED  STATES 
GOLD  COINS,  1907 

SIX  CIRCULAR  RELIEFS,  IN  PLASTER 

(0 

Head  of  a  woman,  in  profile,  with  parted  lips ;  directed  left ; 
wearing  olive  wreath.  Above,  thirteen  stars.  In  exergue: 
LIBERTY.   D.  11|  in. 

Note.    Unused  design,  originally  intended  for  one-cent  piece. 

(2) 

Similar  to  the  preceding,  with  Indian  head-dress  substituted  for 
olive  wreath,  and  with  margin  of  relief  lowered.    D.  1  1  f  in. 

Note.    Design  for  obverse  of  ten  dollar  gold  piece. 

(3) 

American  eagle,  standing;  arrows  and  olive  branch  in  claws. 
In  upper  right  field,  inscription:  .E.  PLURIBUS .  UNUM. 


75 


Legend:  .UNITED. STATES. OF. AMERICA.  Exergue: 
.TWENTY.  DOLLARS .   D.  1 2i  in. 


Note.  Design  intended  for  reverse  of  the  twenty-dollar  gold  piece,  but  used 
for  the  ten. 

(4) 

Full-length  figure  of  winged  woman,  Standing,  directed  front; 
flowing  hair,  Indian  head-dress,  classic  robe;  torch  in  right 
hand,  olive  branch  in  left;  left  foot  raised  on  a  rock  against 
which  is  an  oak  branch.  In  the  lower  left  field  a  small  sketch 
of  the  Capitol  building,  with  rising  sun;  lower  right  field, 
MCMVII.  Border  of  forty-six  stars.  Signature  at  lower  left, 
monogram  A  ST  G.    Edge  beveled.    D.  1 2^  in. 

Note.    Original  idea  for  obverse  of  twenty-dollar  gold  piece. 

(5) 

Similar  to  the  preceding,  but  without  wings  or  head-dress  for 
the  figure;  Capitol  building  enlarged,  rays  of  sun  lengthened 
and  extended  across  from  left  to  right.  Border  of  stars  nearer 
center,  leaving  wider  margin.  Signature:  in  lower  right  field, 
monogram  A  ST  G.  Edge:  thirteen  stars  with  legend 
E .  PLURIBUS .  UNUM .   D.  1 2i  in. 

Note.    Design  for  obverse  of  twenty-dollar  gold  piece. 

(6) 

American  eagle,  flying,  directed  left.  Below,  rising  6un,  with 
rays  extending  to  margin.  Legend:  .  UNITED  .  STATES  . 
OF .  AMERICA .  TWENTY .  DOLLARS .   D.  1 3 \  in. 

Note.  Design  intended  for  one-cent  piece,  but  used  for  twenty-dollar  piece. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 


76 


99 


UNITED  STATES  GOLD  COINS,  1907 

0) 

TEN  DOLLARGOLD  PIECE,  1907 

[a]  (Obverse)  Woman's  head,  in  profile,  lips  parted,  directed 
left;  wearing  Indian  head-dress.  Above,  thirteen  stars.  Border, 
a  hair  line,  sharply  raised.    Exergue,  1907. 

[b]  (Reverse)  American  eagle,  standing,  directed  left;  olive 
branch  and  sheaf  of  arrows  in  claws.  Border,  a  hair  line,  sharply 
raised.  Legend:  \  UNITED  .  STATES  .OF  .  AMERICA. 
Field:  .  E  .  PLURIBUS  .  UNUM  .  Exergue:  .  TEN  . 
DOLLARS  .    Edge,  forty-six  stars. 

Note.  The  coin  as  first  sTruck ;  not  issued,  as  being  in  too  high  relief  and 
having  too  sharp  an  edge. 

(2,  aib) 

Similar  to  the  preceding,1  but  in  lower  relief,  and  having  a 
wider  border. 

Note.    The  second  coin  struck,  but  not  issued  for  similar  reasons. 

(3/;>,  b) 

Similar  to  the  preceding,  but  in  still  lower  relief  and  with  still 
wider  border. 

Note.    The  coin  as  issued. 

(4) 

TWENTY-DOLLAR  GOLD  PIECE,  1907 

[a]  (Obverse)  Figure  of  woman  in  somewhat  high  relief, 
standing,  directed  and  looking^front;  flowing  hair;  torch  in  right 


77 


hand,  olive  branch  in  left;  left  foot  raised,  resting  upon  a  rock, 
oak  branch  at  lower  right.  Background,  sun-rays;  Capitol 
building  in  lower  left  field.  Border,  a  band  somewhat  more 
than  one-sixteenth  of  an  inch  in  width,  with  inner  border  of 
forty-six  stars.  Legend:  LIBERTY.  Field:  MCMVII,  and 
Signature:  (Monogram,  A  ST  G). 

[b]  (Reverse)  Flying  eagle,  directed  left;  rising  sun  below, 
with  rays  extending  to  border.  Border,  a  hair  line.  Legend : 
.  UNITED  .  STATES  .  OF  .  AMERICA  .  TWENTY  . 
DOLLARS  .  Edge:  E  (star)  PLURIBUS  (star)  UNUM 
(eleven  stars). 

Note.    Struck  in  the  medal-press.    Not  issued  because  in  too  high  relief. 

(5,  a,  b) 

Similar  in  type  to  the  preceding,  but  in  low  relief,  with  wider 
border  for  reverse  and  date  1 907  in  lower  right  field  of  obverse. 

Note.    The  coin  as  issued. 

Lent  by  the  American  Numismatic  Society. 

100 

UNITED  STATES  GOLD  COINS,  1908 

(1) 

TEN-DOLLAR  GOLD  PIECE,  1908 

(a)  Same  as  for  1907  (Number  3)  with  date  1908  in 
exergue  of  obverse. 

(b)  Another  example,  to  show  reverse. 
Lent  by  the  American  Numismatic  Society. 


78 


1* 


(2) 

TWENTY-DOLLAR  GOLD  PIECE,  1908 

(a)  Same  as  for  1907  (Number  5)  with  date  1908  in 
exergue  of  obverse. 

Lent  by  the  American  Numismatic  Society. 

101 

MODELS  OF  DOUBLE  EAGLE 

Four  planter  models  consisting  of : 

(a)  the  obverse  for  the  double  eagle. 

(b)  the  reverse  for  the  double  eagle. 

(c)  the  obverse  for  the  eagle. 

(d)  the  reverse  for  the  eagle. 

Lent  by  the  U.  S.  Mint  in  Philadelphia. 


79 


Copyright,  l!»  5,  de  tt".  C.  Ward. 

REVERSE  OF  COLUMBIAN  MEDAL. 

Number  59. 


REDUCTIONS 
102 

CHARLES  COTESWORTH  BEAMAN 
Electrotype  reduction  from  Number  63.  H.  4f  in.;  W.  2f  in. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

103 

DEACON  SAMUEL  CHAPIN  ("THE 
PURITAN") 

Bronze  reduction,  signed,  from  a  plaster  cast  from  original  bronze 
statue  in  Springfield,  Massachusetts.  H.  30f  in.  Stalwart 
figure  of  a  man  walking;  Puritan  costume,  with  a  peak- 
crowned  hat,  long  flowing  cloak,  and  carrying  a  staff.  Head 
directed  to  the  front,  eyes  down ;  right  arm  extended  and 
thrown  back,  with  hand  grasping  head  of  staff ;  left  arm  flexed 
with  hand  supporting  book,  the  edges  of  which  are  to  the  fore. 
Branches  of  pine  needles  scattered  under  foot. 

Inscription  (on  tablet  below) 
THE  PVRITAN 

Signature 

AVGVSTVS  SAINT-GAVDENS. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 


81 


104 

PLAQUE  COMMEMORATIVE  OF  THE 
CORNISH  CELEBRATION 

Silver-colored  reduction  from  Number  84.  H.  3\  in.;  W.  1 1  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

105 

HORACE  GRAY,  ASSOCIATE  JUSTICE 
OF  THE  UNITED  STATES 
SUPREME  COURT 

Bronze  reduction  from  bronze  plaque,  low  relief,  signed  and 
dated  19CH.  H.  7 'I  in.;  W.  8|  in.  Three-quarters  length, 
seated,  side  view,  head  in  profile,  directed  to  the  left ;  left  hand 
resting  on  book,  right  on  knee ;  robe  of  office.  In  left  upper 
corner  seal  of  the  Supreme  Court  of  the  United  States. 

Inscription 

HORACE  GRAY  IN  HIS  SEVENTY-FOURTH  YEAR.  WASH- 
INGTON, D.  C.  APRIL  MDCCCCI.  MAJOR  HAEREDITAS 
VENIT  A  JURE  ET  LEGIBUS. 

Signature 

(Monogram:    A  S  T  G) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 

106 

SARAH  REDWOOD  LEE 

Electrotype  reduction  from  Number  22.  H.  8yV  in.;  W.  3\  in. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 
82 


JUSTICE  GRAY. 
Number  105. 


107 

JULES  BASTI EN-LEPAGE 

Electrotype  reduction  from  Number  1 9.  H.  6^  in.;  W.  4|-  in. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 


108 

MR.  WAYNE  MacVEAGH 

Bronze  reduction  of  head  of  Mr.  MacVeagh  from  bronze  low 
relief  of  Mr.  and  Mrs.  Wayne  MacVeagh,  signed  and  dated 
1902.   D.  3i  in. 

Inscription 

WAYNE  MACVEAGH  WASHINGTON  D.  C. 
MCMII 

Signature 

(Monogram  :    A  S  T  G) 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


109 

HOMER  SCHIFF  SAINT-GAUDENS 
Electrotype  reduction  from  Number  25.  H.  7£  in.;  W.  4iV  in- 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 


110 

MISS  VIOLET  SARGENT 
Electrotype  reduction  from  Number  50. 


H.  9  in.;  W.  6i  in. 

83 


Signature 

(Monogram:   A  ST  G)  MDCCCLXXXX  FECIT. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

111 

DR.  HENRY  SCHIFF 

Electrotype  reduction  from  Number  1 8.  H.  3 tV  in.;  W.  3|  in. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

112 

CHILDREN  OF  JACOB  H.  SCHIFF 

Electrotype  reduction  from  Number  46.  H.  8J  in.;  W.  6f  in. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

Note.  The  reduction  differs  from  the  marble  replica  in  having  the  names 
Leo  Mortimer  Schiff  and  Fanny  Frieda  Schiff  inscribed  above  the  respec- 
tive figures. 

113 

MISS  GERTRUDE  VANDERBILT 
(MRS.  HIARRY  PAYNE  WHITNEY) 

Bronze  reduction,  in  medallion  form  showing  head  only,  from 
bronze  plaque,  low  relief,  signed,  not  dated.  [1882].  D.  3-J 
in.    Head  three-quarters,  directed  left ;  wearing  hat. 


84 


Inscription 

GERTRVDE  VANDERBILT.   AETAT  VII. 
Signature 

AVGVSTVS  SAINT-GAVDENS  FECIT. 
Lent  by  Mrs.  Augustus  Saint  Gaudens. 

114 

MRS.  SCHUYLER  VAN  RENSSELAER 
Bronze  (?)  reduction  from  Number  45.     H.  5  J  in.;  W.  2  in. 
Lent  by  Mrs.  Augustus  Saint-Gaudens. 

115 

SAMUEL  GRAY  WARD 

Electrotype  reduction  from  bronze  plaque,  signed  and  dated 
New  York,  May,  1881.  H.  6|  in.;  W.4|in.  Three-quarters 
length ;  three-quarters  to  the  right,  head  in  profile,  left  hand 
clasping  right  wrist. 

Inscription 

SAMVEL  GRAY  WARD.  NEW  YORK  MAY  MDCCCLXXXI 
Signature 

FE  (Monogram:    A  ST  G)   C I T. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


85 


CAMEOS 


116 


ONYX  BROOCH,  WITH  HEAD  AND 
SHOULDERS  OF  MARY  QUEEN 
OF  SCOTS 


Lent  by  Mrs.  John  Merrylees. 


117 


ONYX  BROOCH  AND  EAR-RINGS, 
WITH  HEADS  OF  CERES,  HERMES 
AND  APOLLO 


Signature  (on  brooch) 
A.  ST.  G. 

Lent  by  Mrs.  George  H.  Talman. 


118 


ONYX  BROOCH,  WITH  HEAD 
OF  FLORA 

Lent  by  Miss  Lucille  A.  Le  Brethon. 


119 

THREE  TOPAZ  CAMEOS  SET  IN 
A  PENDANT,  WITH  HEAD  OF 
A  CHILD  ON  EACH 

87 


\ 


Signature 

A.  ST.  GAUDENS 

Lent  by  Mrs.  Ernest  A.  Bigelow. 

120 

TOPAZ  BROOCH,  WITH  FIGURE 
OF  A  FLYING  EAGLE 

Lent  by  Miss  Lucille  A.  Le  Brethon. 


i 


88 


PORTRAITS  OF  SAINT  GAUDENS 


121 

PORTRAIT  OF  AUGUSTUS  SAINT- 
GAUDENS  BY  KENYON  COX, 
1  908 

Life  size,  half-length  figure,  seen  from  the  back,  head  in  profile, 
directed  right ;  right  arm  extended,  hand  engaged  in  modelling, 
left  holding  a  lump  of  clay  and  a  modelling  tool. 

Signature 

KENYON  COX  1908. 

Lent  by  the  Metropolitan  Museum  of  Art. 

Note.  The  original  picture  was  painted,  on  a  smaller  scale,  in  the  sculptor's 
Thirty-sixth  Street  Studio  in  1887.  It  was  destroyed  in  the  fire  in  his  studio 
in  Cornish,  N.  H.,  in  1904.  This  replica  was  painted  in  1908.  The  sculptor 
is  represented  at  work  upon  the  relief  portrait  of  William  M.  Chase.  Behind 
his  head,  to  the  left,  is  a  solar  print  of  one  of  the  Vanderbilt  caryatids.  A 
cast  of  the  "Unknown  Lady"  of  the  Louvre  stands  beyond.  Next  is  the 
bronze  relief  of  Homer  Saint-Gaudens  as  an  infant,  and  beyond  that  the  plaster 
relief  of  Miss  Lee.  The  scaffolding  behind  the  easel  is  the  back  of  the  Shaw 
Memorial.    [Signed]  KENYON  COX. 


22 


PORTRAIT  OF  AUGUSTUS  SAINT- 
GAUDENS  BY  HENRY  HERING 

Planter  bus!,  facing  and  looking  full  front.  H.  1  7  in.  (plinth, 
H.  7  in.). 

Lent  by  Mr.  Henry  Hering. 


89 


123 

HAND  OF  AUGUSTUS  SAINT- 
GAUDENS 

Bronze  cast  from  planter  cast  in  the  possession  of  Mr.  George 
W.  Maynard.  The  original  cast  was  made  to  assist  Mr.  May- 
nard  in  representing  a  hand  holding  a  flag  for  one  of  the  figures 
in  his  painting  entitled  "  1  776,"  new  owned  by  Smith  College. 

Lent  by  Mr.  Daniel  C.  French. 


124 

A  PHOTOGRAPH  OF  AUGUSTUS 
SAINT-GAUDENS  AT  ABOUT 
SEVENTEEN  YEARS  OF  AGE 

Lent  by  Miss  Lucille  A.  Le  Brethon. 

Note.  The  following  is  a  transcription  of  an  explanatory  letter  addressed  to 
the  Secretary  of  the  Saint-Gaudens  Memorial  Exhibition  by  Miss  Lucille  A. 
Le  Brethon: 

I  am  in  receipt  of  your  letter  of  the  17th,  and  delayed  answering  as  I  wished 
to  procure  from  my  niece,  Mrs,  Arnold  Moser,  214  East  15th  Street,  a 
topaz  cameo,  the  very  first  piece  of  work  made  by  Augustus  Saint-Gaudens  un- 
der my  father's  tuition.  The  onyx  cameo  which  I  am  also  sending  you  for  ex- 
hibition is  one  of  the  last  things  made  by  him  while  with  my  father,  Jules  Le 
Brethon.  There  can  be  no  doubt  of  the  authenticity  of  these  two  cameos 
(which  my  father  always  kept  and  prized  very  much),  as  the  accompanying 
photographTshows  him  at  work  in  my  father's  studio.  I  am  sending  the  two 
cameos  and  photograph  under  separate  cover  by  registered  mail. 


90 


PHOTOGRAPHS. 


125 

ANGEL  FOR  THE  TOMB  OF 
GOVERNOR  E.  D.  MORGAN 

Bromide  enlargement. 

Lent  by  Mrs.  Augustus  Saint-Gaudens. 


126,  127 

CARYATIDS  IN  THE  RESIDENCE 
OF  CORNELIUS  VANDERBILT 

Bromide  enlargement. 


128 


PETER  COOPER  MONUMENT, 
NEW  YORK 


Bromide  enlargement. 


129 


HAMILTON  FISH  MONUMENT, 
AT  GARRISONS,  N.  Y. 


Bromide  enlargement. 


9! 


130 


ROS WELL  P.  FLOWER  MONUMENT 
AT  WATERTOWN,  N.  Y. 

Bromide  enlargement. 


131 


HIAWATHA 
Carbon. 


132 


STATUE  FOR  CHARLES  STUART 
PARNELL  MONUMENT, 
DUBLIN,  IRELAND 


Bromide  enlargement. 


92 


ACKNOWLEDGMENT 


The  Department  of  Fine  Arts  makes  grateful  acknowledgment 
to  those  who  have  generously  lent  their  works  of  sculpture  for 
exhibition. 

The  names  of  contributors  appear  in  the  text  of  the  catalogue. 


93 


BIBLIOGRAPHY 


A  FEW  REFERENCES  REGARDING 
AVGVSTVS  SAINT-GAVDENS 
AND  HIS  WORK 


BOOKS 

Cortissoz,  Royal :    Augustus  Saint-Gaudens.    1 907. 

Hind,  Charles  Lewis :    Augustus  Saint-Gaudens.  1907. 

Low,  Will  Hicok  :  Chronicle  of  Friendships.  1908.  pp.  215-230,  273- 
283,  387-395,  40 1  -402,  480-486,  499-506. 

Stevenson,  Robert  Louis :  Letters.  1899.  v.  2,  pp.  345-347, 364-365, 407. 
Taft,  Lorado  :    History  of  American  Sculpture.    1903.    pp.  279-309. 

MAGAZINE  ARTICLES 

Art  et  decoration  :    June,  1898.    v.  3,  pp.  182-183. 

Art  et  decoration  :  Feb.,  1899.  v.  5,  pp.  43-49.  Le  sculpteur  Augustin 
Saint-Gaudens,  by  Gaston  Migeon. 

Atlantic  monthly:  March,  1908.  v.  101,  pp.  298-310.  Augustus  Saint- 
Gaudens,  by  Kenyon  Cox. 

Atlantic  monthly:  March,  1908.  v.  101,  p.  311.  Music  beneath  the 
stars ;  sonnet  in  memory  of  A.  St.-G.,  by  Richard  Watson  Gilder. 

Century  Magazine  :  March,  1908.  v.  75,  pp.  695-713.  The  later  works 
of  Augustus  Saint-Gaudens,  by  [his  son]  Homer  Saint-Gaudens. 

Century  Magazine  :  March,  1908.  v.  75,  pp.  713-714.  The  special  medal 
of  honor  created  for  Augustus  Saint-Gaudens,  designed  and  modelled  by 
James  Earle  Fraser ;  by  Richard  Watson  Gilder. 

Century  Magazine  :  Jan.-Feb„  1909.  v.  77,  pp.  395-413,  575-595.  (To 
be  continued.)  Reminiscences  of  Augustus  Saint-Gaudens  ;  ed.  by  his  son 
Homer  Saint-Gaudens. 

Gazette  des  beaux-arts:    Aug.,  1898.    v.  83,  pp.  138-140. 

95 


International  Studio  :  Feb.,  1 908.  v.  33,  sup.  pp.  1 23- 1 38.  Augustus 
Saint-Gaudens,  by  Talcott  Williams. 

McClures  Magazine:  Oct.-Nov.,  1908.  v.  31,  pp.  603-616;  v.  32,  pp. 
1-16.  Familiar  letters  of  Augustus  Saint-Gaudens;  ed.  by  R. S.  Nichols. 

Nation:  June  29,  1905.  v.  80,  pp.  519-520.  An  out-door  masque  in 
New  England,  by  K.  K. 

North  American  Review:  Nov.,  1903.  v.  177,  p.  725-738.  Augustus 
Saint-Gaudens,  by  Royal  Cortissoz. 

NEWSPAPER  ARTICLES 
Appeared  at  the  time  of  his  death 

Boston  Evening  Transcript :  Aug.  5,  1907.  p.  10.  Augustus  Saint-Gaudens. 
New  York  Daily  Tribune:    Aug.  4,  1907.    pp.  1-7. 
New  York  Evening  Post :    Aug.  5,  1907.    pp.  4-5. 

CRITICISMS  OF  SINGLE  WORKS 

Farragut  Monument 

Scribner's  Monthly:  June,  1881.  v.  22,  pp.  161-167.  The  Farragut 
monument,  by  Richard  Watson  Gilder. 

Lincoln  Monument 

Century  Magazine:  Nov.,  1887.  v.  35,  pp.  37-39.  Saint-Gaudens's  Lin- 
coln, by  M.  G.  van  Rensselaer. 

Shaw  Monument 

The  Monument  to  Robert  Gould  Shaw  ;  its  inception,  completion  and  un- 
veiling, 1865-1897.  1897. 

Century  Magazine:    June,  1897.    v.  54.  pp.  176-177,  179-186,  194-200. 
Sherman  Monument 

Nation:  June  18,  1903.  v.  76,  pp.  491-492.  The  Sherman  Statue,  by 
Kenyon  Cox. 

Stevenson  Memorial  Tablet,  Edinburgh 

Overland  Monthly :  March,  1905.  v.  45,  pp.  235-239.  Unveiling  of 
the  Robert  Louis  Stevenson  Memorial,  by  Betty  Harcourt. 

United  States  Coins 
Century  Magazine  :    March,  1908.    v.  75,  p.  799. 

Memorial  Exhibition 

International  Studio:    Jan.,  1909.    v.  36,  p.  90.    Saint-Gaudens  Memo- 
rial Exhibition  at  the  Corcoran. 
96 


INDEX 

Number. 

Adams,  Henry  (Caricature)   80 

Adams  Monument  _  53 

Adams  Monument,  Head  of  figure   52 

Amor  Caritas   34, 77 

Arnold,  Benjamin  Greene   -    ]2 

Bastien- Lepage,  Jules    -  _      -19,  107 

Beaman,  Charles  Cotesworth  63,  102 

Beaman,  Mrs.  Charles  Cotesworth   78 

Beaman,  William  Evarts      ---------  32 

Bellows,  Dodor  Henry  Whitney  33 

Boston  Public  Library,  Allegorical  Groups  for  87 
Boston  Public  Library,  Seal  for       -------  51 

Brooks,  Charles  Timothy  -      --      --      --      -  27 

Bunce,  William  Gedney     -      --      --      --      --  2 

Cameos  116,  117,   118,   119,  120 

Caricatures  6,  80,  81,  82 

Cary,  Dr.  Walter  -----  7 

Caryatids  for  Residence  of  Cornelius  Vanderbilt      -      -  23,  24,  126,  127 

Chanler,  William  Astor  67 

Chapin,  Edwin  Hubbell      ---------  43' 

Chapin,  Chester  W.  35 

Chapin,  Mrs.  Emelia  Ward   15 

Chapin,  Deacon  Samuel      ---------  103 

Chase,  William  Merritt  42 

Christ,  Study  for  Head  88, 89 

Cleveland,  Mrs.  Grover  -      -      -      -    57, 58 

Coins,  United  States  Gold   99,  100,  101 

Cooper,  Peter      -      -  68,  128 

Cornish  Celebration  Plaque  84,  104 

Cox,  Kenyon       -   47 

Dana,  Charles  Anderson    -      --      --      --      --  75 

Diana   54,  55,  56 

Dunrobin       -      --      --      --      --      --      -  31 

Finn,  James  V/all  (Caricature)   81 

Farragut,  Admiral  David  Glasgow  13,  14 

Fish  (Hamilton)  Monument  129 

Flower  (Roswell  P.)  Monument  130 

Freer  Gallery  at  Washington,  D.  C,  Sketches  of  Figure  of  Painting 

for  Proposed      -      --      --      --      --      -  95 

Garfield  Monument  64,  65 

Gilder,  Richard  Watson,  Wife  and  Infant  Son  -  -  -  -  8 
Gilder,  Rodman  DeKay     -      --      --      --      --  9 

Gray,  Professor  Asa  28 

Gray,  Horace      -      --      --      --      --      --  105 

97 


Gray,  Mrs.  John  Chipman      -      --      --      --      -  79 

Hay,  Honorable  John       -      --      --      --      --  83 

Hiawatha  ------  131 

Holland,  Josiah  Gilbert   20 

Hollingsworth,  George  ---------      -  48 

Howland,  Mrs.  Louise  M.  30 

Howells,  William  Dean,  and  Miss  Howells     -----  76 

Johnston,  Doctor  William  Edward     -      --      --      --  J6 

LeBrethon,  Letter  from  Miss  Lucille      ------        J  24 

Lee,  Mrs.  Charles  Carroll,  and  Miss  Lee  ------  21 

Lee,  Miss  Sarah  Redwood  -  22,  106 

Lincoln,  Abraham  (seated  figure)      -      --      --      --  90 

Lincoln,  Abraham  (standing  figure)    -      --      --      --  38 

Love,  Miss  Maria  M.       -      --  -  |0 

McCosh,  Doctor  James     -      --      --      --      --  49 

McKim,  Charles  Follen      ---------  5 

McKim,  Charles  F.,  Augustus  Saint-Gaudens  and  Stanford  White 

(Caricature)    -    --      --      --      --      --  6 

MacVeagh,  Mr.  Wayne      ---------  108 

Maynard,  George  Willoughby    -      --      --      --      -  3 

Millet,  Francis  Dsvis    -      --      --      --      --      -  ]| 

Mitchell,  Silas  Weir    ----------  29 

Morgan,  Angel  for  the  Tomb  of  Governor  E.  D.    -      -      -      -        1 25 

Nike-Eirene  (see  Victory)    -      --      --      --      --  86 

Page,  Miss  Annie       -      --      --      --      --      -  66 

Paintings,  Sketches  and  Figure  of      ------  95 

Parnell  Monument       -      --      --      --      --      -  132 

Photographs  -  -  -  124,  125,  126,  127,  128,  129,  130,  131,  132 
Picknell,  William  L.    ----------  4 

Piatt,  Charles  A.  (Caricature)    -  82 

Portrait  of  a  Lady       -      --      --      --      --      -  36 

Portraits         ---------      121,  122,  123 

Puritan,  The  -----------      -  103 

Reductions    102,  103,  104,  105,  106,  107,  108,  109,  110,  111,  112,  113, 
114,  115 

Saint-Gaudens,  Augustus,  Charles  F.  McKim  and  Stanford  White 

(Caricature)      -      --      --      --      --      -  6 

Saint-Gaudens,  Mrs.  Augustus    -      --      --      --      -  91 

Saint-Gaudens,  Augustus,  Portraits  of      -      -      -      -      -       121,  122 

Saint-Gaudens,  Augustus,  Hand  of------      -  123 

Saint-Gaudens,  Augustus,  Photograph  of  -      -      -      -      -      -  124 

Saint-Gaudens,  References  regarding  Augustus,  following  number   -  132 
Saint-Gaudens,  Bernard  P.  E.    -      --      --      --      -  1 

Saint-Gaudens,  Homer  Schiff    -      --      --      --      -  25,  109 

Sargent,  John  S.    -      --      --      --      --      --  17 

Sargent,  Miss  Violet    -     r      -     -     -     -      -      -     -      -  50,  110 

Schiff,  Doctor  Henry    -      -      -      -      -      -      -      -      -  -18,111 

Schiff,  Jacob  H.,  Children  of      -      -      -      -      -      -      -  -46,112 

98 


Shaw,  Colonel  Robert  Gould,  Memorial  to  69,  70,  71,  72,  73 

Sherman,  General  William  Tecumseh,  BusT:  of  44 
Sherman  Monument :  First  Sketch  for  the  Head  of  Victory  -  74 
Stevenson,  Robert  Louis     -  39,  40,  41 

Study  for  a  Head      -   _  95 

Study  of  a  Child    -    -    62 

United  States  Gold  Coins    -     -   99,  100,  101 

Models      -      --      --   93 

Coins    -    -      -  99,  100,  101 

Vanderbilt,  Cornelius,  Caryatids  for  Residence  of    -         23,  24,  126,  127 

Vanderbilt,  Miss  Gertrude  113 

Van  Rensselaer,  Mrs.  Schuyler  -      -     -     -      -     -     -  -45,114 

Victory :  Sherman  Monument  -------     -  86 

Victory,  Head  of  (Relief)    -   85 

Vinton,  Doctor  Alexander  Hamilton   26 

Waite,  Morrison  Remich     -   97 

Ward,  Samuel  Gray  -     -  115 

Washington  Medal      -      -   37 

Whistler  Memorial      -      -      -      -   92 

Whistler  Memorial :  Small  Sketch    -------  93 

Whisller  Memorial :  Plaster  Sketches     ------  94 

WTiite,  Stanford,  Augustus  Saint-Gaudens  and  Charles  F.  McKim 

(Caricature)       -      --      --      --     --     -  6 

World's  Columbian  Exposition,  Medal  of     -      -     -     -     59,  60,  61 


99 


GETTY  RESEARCH  INSTITUTE 


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